Newsletter from the

Section for the Arts of

Eurythmy, Speech
and Music

Easter 2006
Easter 2006
 1

TABLE OF CONTENTS

Topical Forum Conferences of the Section 41

Conference for Eurythmists, after Easter 2007 . . . . . . . . . . 3

Eurythmy in Prisons (Truus Geraets) . . . . . . . . . . . . . . . . . . . 4
Courage for the Social Venture of Eurythmy Announcements
(Werner Barfod / Claudia Maurice) . . . . . . . . . . . . . . . . . 6
“In the beginning...” a celebration of birth and life – Eurythmy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
(Alan Stott) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 – Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Acting with Steiner (Christopher Marcus) . . . . . . . . . . . . . . 8 – Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Articles
Reviews
Supplement to Thomas Göebel’s article
“An Arrangement of the Human Soul-Moods” Roswitha Venus, Ein Weg zu vertieftem Musikhören
in Newsletter No 43 (Thomas Göbel) . . . . . . . . . . . . . . . 10 (Michael Walter, Elisabeth Göbel) . . . . . . . . . . . . . . . . . . 48
Waking up the Human Being of Movement Rosemaria Bock, Gestalt – Bewegung – Eurythmie
and of Speech (Werner Barfod) . . . . . . . . . . . . . . . . . . . .10 (Elisabeth Göbel) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
The Foundation Stone in Eurythmy (Helga Steiner) . . . . 13 Elisabeth Göbel: Eurythmie im ersten Jahrsiebt…
Method in Music Eurythmy (Stefan Hasler) . . . . . . . . . . . .14 (Astrid Prokofieff) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Eurythmy Stage Lighting: Lighting Design or Truus Geraets: Die Heilende Wirkung der Eurythmie
Light-Eurythmy? (Thomas Sutter) . . . . . . . . . . . . . . . . . 15 (Alexander Höhne) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Concept of the ‘Etheric’ in Creative Speech Hans Reipert, Eurythmisten im Gespräch
(Christopher Garvey) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 (Sophia-Imme Atwood-Reipert) . . . . . . . . . . . . . . . . . . . 52
Paths to the Genius of Speech (Wilfried Hammacher) . . 18 Wilfried Hammacher: Die Grundelemente der Sprachgestal-
The Concept of Melos in J.M. Hauer and R. Steiner tung und Schauspielkunst nach
(Johannes Greiner) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Rudolf Steiner (Reiner Marks) . . . . . . . . . . . . . . . . . . . . . 52
Music and the the Planetary Laws experienced Rudolf Steiner. Eurythmy as Visible Speech
therein (Gotthard Killian) . . . . . . . . . . . . . . . . . . . . . . . . . 24 (Christopher Cooper) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
The Philosophy of Freedom as a Musical
Composition, Part I (Alan Stott) . . . . . . . . . . . . . . . . . . . . 27
Anthroposophy and Christianity (Thomas Göbel) . . . . . . 30 Publications

Reports Rosemaria Bock, Studien zur Menschenkunde

des Eurythmieunterrichts . . . . . . . . . . . . . . . . . . . . . . . . . 55
A Second Report on the International Eurythmy Magnus Schlichtig, Addition to Ätherisches Streichen . . . 55
& Education Mandate Group of both Sections New titles from Otanes-Verlag, Berlin . . . . . . . . . . . . . . . . . 55
(Werner Barfod) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Gotthard Killian, Monochordschule des Pythagoras . . . . . 55
A Second Report from the International Eurythmy Volker Dillmann, 3 Farbtonspiele für Leier- und
Therapy Mandate Group of both Sections Harfenorchester . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
(Werner Barfod) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Wilfried Hammacher, Die Grundelemente der
Lesson Time-Units and Lesson Prerequisites in Steiner- Sprachgestaltung und Schauspielkunst
Waldorf Schools (Rosemaria Bock) . . . . . . . . . . . . . . . . . 32 nach Rudolf Steiner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Eurythmy Training in Sekem (Christoph Graf ) . . . . . . . . . 33
Goethe’s Faust in Arabic – Report of Experience
(Sandra Bloch) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Corrections to Newsletter
Eurythmy as a Bridge to the Future, Summer Eurythmy No. 43, Michaelmas 2005 . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Academy 2005 in Austin (Courtney Lipscomb) . . . . . . 35
Goethe’s Fairy-Tale Project of the “eurythmie
ensemble hamburg” (Silke Weimer) . . . . . . . . . . . . . . . . 35
Snow-White and Rose-Red (Annika Lamerdin) . . . . . . . . . 36
Symphony Project U.S.A. 2005 (Claudia Lasnier) . . . . . . . 37
Eurythmy Meetings (Johannes Starke) . . . . . . . . . . . . . . . . 37
Report from the “Working Group for Artistic Speakers
and Actors” (Ute Basfeld) . . . . . . . . . . . . . . . . . . . . . . . . . 38
“My happiest time playing for eurythmy” (Elvira Jeger) . 38
Puppetry Working Conference of the Section
(Gudrun Ehm) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Puppetry for Small Children (Bernd Guthmann) . . . . . . . 40
2

Dear Readers,
It seems that the events and demands follow on each other build up a mentor network, and would like to awaken con-
ever more quickly. The present situation demands full atten- sciousness for the needs of the children who more inten-
tion, yet the next event has to be taken in hand. Demands on sively need these arts.
us are made simultaneously at many levels of our work. This In the Drama Committee we are regularly concerned with
is especially relevant for the inner and outer development of the questions of Steiner’s impulse for speech and drama and
a contemporary training. Everything comes into movement. how we could help, that in this field a healthy artistic life can
Students are seeking artistically deepened quality, yet at the again be built up.
same time want to step into life with professional qualifica- Ever and again arises the question whether with new
tions. Despite the preparatory struggles of the tutors for forces we can build up acting for the Goetheanum Stage. The
years now, the demands for the way of working, for clear colleagues of the Sections are likewise concerned as are the
aims of the subject in the social realm, in schooling, in the various people working for the stage, to find appropriate
inner certainty, approach to a tremendous degree simulta- solutions, especially the experienced people who can do the
neously and from all sides. jobs. The attempt in 2005 could not lead to the hoped for
The Youth-Section week at the Goetheanum, “The battle new beginning. At present all groups concerned are search-
for the ‘I’”, is just ending. It is heartening to experience how ing for the possibilities of a fruitful working, with at the same
courageously and full of responsibility for anthroposophy time reduced financial means.
young people are entering into the work—honest, self-con- In the middle of February we experienced the final week-
fident and at the same time modest, open and ready for end Eurythmy-Meeting with an open rehearsal of the 2nd
action, spiritual and tolerant, socially awake and strongly and 3rd movements of Mozart’s Piano Concerto in C minor
involved when it is filled with substance out of their own by the Goetheanum Eurythmy Ensemble. This was con-
experience. Eurythmical exercises are entered into and trasted with an enchanting Japanese fairy-tale by the eury-
experienced quite naturally, and out of an inner joy are thmists from Yokohama of a high artistic standard. In Octo-
woven into the theme of the breathing fo the ‘I’—art as the ber 2006 and February 2007 at the respective weekends the
form of anthroposophy for what is basically human. opportunity will be given to work further on prepared solo-
In our meeting in January for the eurythmy trainers, the music eurythmy-forms by Rudolf Steiner from 1924 with fur-
eurythmists worked at the same theme, centre and periph- ther suggestions for work, and also for possible performance
ery in space-time and the simultaneity of expansion and at the Easter Conference 2007.
contraction. In October till December 2006 a stage-course will once
In the conference for the trainings, intense work took again be offered, this time, however, without a place in the
place on the questions of accompanying the students and Ensemble.
their path of development throughout the training, the place We face the third large Eurythmy Conference 18th–22nd
and integration of anthroposophy, the aim of the training as April 2006 for pupils, students, eurythmists and all the
preparation for the eurythmists’ professional path, and friends of eurythmy: “Eurythmy – in the Stream of Time”.
much more besides. Further details are to be found in this Newsletter on the
We invited eurythmists active in the most various ways in professional Eurythmy Conference 9th–14th April 2007 and
the social sphere for conversations, in order to get to know for the big Musicians Conference 5th–10th August 2006. Both
their specific skills and to pass them on to others. We want conferences aim to focus on the arts in connection with the
especially to make this available for the trainings, by letting wider cultural life.
the tutors experience it and to include it as an important part
of the Eurythmy Conference 9th–14th April 2007. The process For information, the Calendar of Events January 2006 –
with the formed-speech artists who are active in the social April 2007 is included, also the Section brochure.
sphere is taking place in a similar way. With regard to eury-
thmy, we have been for a while in conversation with repre- With warm greetings,
sentatives of the Bund (Fellowship) of the Steiner-Waldorf Dornach, February 2006
Schools, and now with the subject of formed speech for the
Steiner-Waldorf Schools. We begin with a working-meeting
with speech teachers in Teacher Seminaries. We intend to
 T O P I C A L Q U E S T I O N S F O R U M
3

TOPICAL QUESTIONS FORUM

Eurythmy Conference after Easter 2007 texts bring their specific experiences and way of working. Of
at the Goetheanum, 9th–14th April 2007 course, we also want to hear from those friends of a euryth-
my culture, that is ever growing in importance, of their expe-
2007 is the centenary of the beginning of Rudolf Steiner’s riences, as well as to question them in plenum discussions,
artistic impulse with the pillars and seals of the Munich Con- besides all the other reports on experience.
gress. Soon after this there would have been the birth of In the evening we plan besides the solo programmes two
eurythmy, but destiny decreed that this took place a few performances:
years later. The cultural impulse was taken up afresh and 1. Goetheanum Stage and Eurythmeum Stuttgart with
esoterically deepened by R. Steiner in the Christmas Con- Piano Concertos by Mozart and Schnittke and a text by
ference 1923. In 1924 Steiner fashioned the mantric verses of Thornton Wilder.
the Foundation Stone and the Michael-Imagination. 2. The Drama of Eleusis, in music eurythmy by the
A wealth of solo-/duo forms for various musical works of Goetheanum Stage with music to the Homeric Demeter
different styles still came about in 1924. We have chosen a Hymn by Frank Michael Beyer.
sequence and hope that many pieces will be worked on We are printing the list of solo pieces of music so that you
meanwhile and be presented during the conference in spe- can actively enter the working process. Let us know
cial programmes, as well as in the workshops being further whether you want to perform as soloist or work in the
worked on and perceived by others. Workshops – and whether you are interested to take part in
We imagined the form of the Conference as follows: the masterclass weekend:
We would like the begin the day with the Foundation Stone 1. Masterclass Weekend 6–8th October 2006
Verse presented by different groups and close in the evening 2. Masterclass Weekend16th–18th February 2007
with the Michael-Imagination by various group. Sergej Everything is still in planning and preparation. The initial
Prokofieff will introduce the Foundation Stone with demon- agreements have been made. Later more details on the
strations in eurythmy. In the morning and in the afternoon, progress of the conference will be published.
workshop-like courses will be offered on the Foundation Please pass on a copy of this article and the list to inter-
Stone with active members and audience. Such working ested eurythmy colleagues.
groups will also be offered for the musical soli work, to deep- With warm greetings and invitation to active participa-
en and in also to perceive. We also want to offer courses on tion.
eurythmy as an art of life, where eurythmists in social con- Werner Barfod

Solo and duo forms by Rudolf Steiner from January to end of 1924 (a selection):
Haydn 91. Finale D major Piano Sonata Solo
Handel 89. Largo Sonata op. 2 Nr. 8, violin/oboe Duo
Chopin 60. Ballade No. 3 Ab major, op. 47. Solo
Gluck 73. Dance of the Blessed Spirits – flute/piano Duo
Brahms 44. Intermezzo op. 76, no. 4 Solo
Brahms 48. Intermezzo op. 118, no. 6 Solo
Bach 11. Prelude Bb minor WTK I, no. 22 Solo
Bach 10. Prelude F minor WTC I, no. 12 Solo
Mozart 104. Allegro C minor KV 457 Solo
Mozart 101. Andante G major KV 283 Solo
Mozart 105. Allegro maggiore G major Violin & Piano Sonata. KV 301 Duo
Beethoven 26. Largo con gran espessione (Cmajor) from Sonata in Eb major op. 7 Solo
Beethoven 31. Adagio con espressione (Ab major) from Sonata in Eb major, op. 27, no. 1 Solo
Beethoven 32. Allegretto (Db major) from Sonata in C# minor op. 27, no. 2 Solo
Händel 88. Largo in G minor for 2 violins Duo
Bach 8. Prelude C minor WTC I no. 2 Solo
Chopin 59. Prelude Eb major, op. 28, no. 19 Vivace Solo
Scriabin 133. Prelude op. 11, no. 14 Solo
Beethoven 36. Andante con variazione. Violin and Piano Sonata. A major op. 47 Solo
Beethoven 37. Adagio espressivo Violin and Piano Sonata in G major, op. 96 Duo
Beethoven 33. Adagio molto Violin & Piano Sonata A major op. 30, no. 1 Solo

Please return the solo/duo of your choice, with your name and address to Sekretariat der Sektion für Redende und
Musizierende Künste Sektion, Goetheanum, Postfach, CH-4143 Dornach 1. Closing date 15th August 2006.
 S T A G E F O R U M
4

Eurythmy in Prisons Through doing eurythmy together they experience per-

haps for a short time something of community. Of course,
(from Die Heilende Wirkung der Eurythmie)
they would need much more of such activities that help
Truus Geraets, USA them to re-connect with themselves in a manner which they
can accept.
Eurythmy with young offenders Furthermore, I had the opportunity to witness a very
Convinced that eurythmy is a unique gift to humanity, a impressive work with offenders in a youth prision in north
feeling of responsibility arises to make this art available to a California. In this prison each young person had their own
wide circle of people with different needs. Since it became cell, locked at night. During the day they attend school in the
known that I could work with the most varying kinds of peo- same building. In each classroom I saw not only a teacher
ple, I was asked to do eurythmy with a group of young but also a warder who was able to remove the individual
offenders. Aged between 14 and 20, they had recently all from the classroom with the slightest challenge.
been found guilty of some offence serious enough to land The director of the prison truly wished to help the young
them in prison. After entering the building I could choose to people to a better life. The greatest initial problem for the
work in the large gymnasium or a smaller room. I immedi- young person was the whole school business. As presented
ately chose the intimacy of the smaller room, because I knew in most state schools, it had become totally unbearable.
that I would be unable to hold the attention of the people in After the director had heard of Waldorf education and had
a cold, unfriendly room, where in addition thoughts on sport sent some teachers to the Waldorf teacher-training, the sit-
would arise. uation had begun to change. The young people began to
Sitting with the friend who had taken me there in the develop an interest in school. When in addition an experi-
smaller room, we found nearly 30 young people there who enced Waldorf teacher joined, the hated school atmostphere
all sat around in armchairs and sofas. Their faces and their slowly changed into a place of creative teaching. I myself
whole stance was to give the impression that they were total- could perceive how the young people worked keenly and
ly disinterested. From the beginning I had to make them see enthusiastically on their art-projects. They listened with
that I understood the causes of their life-situation that had great interest to the description of a certain period in histo-
brought them to this miserable condition. When my friend ry because it was related in such a lively manner. They even
began to address the young people, I had somewhat abrupt- used their free time to practice recorder playing because
ly to stop him. I saw immediately that his words were reject- they wanted to play a duet by Mozart for their parents. Oth-
ed, and that they would withdraw further into their world. erwise regarded as hopeless, they showed a great artistic
They had to be won over inwardly, else an approach would ability. Regaining their self-esteem in this realm, the will
no longer be possible. So the choice was between swimming grew to succeed in all the school subjects.
or drowning. Several young people begged the judge to extend their
After a few introductory words in which I showed under- sentences. They knew how better it would be to remain in
standing for their situation, and mentioning the positive the school instead of falling back into the street life.
effect of eurythmy, I invited them to stand up and join in In their deepest being people are good. If one were only
some exercises. I was happy that a third reacted. able to help as much as possible in carving out their poten-
I had chosen a song from the film Doctor Zhivago, assum- tial. The personnel of the youth prison possessed a deep love
ing that the music was known to them. The build-up of this and seriously attempted to help their charges to a better life.
somewhat romantic music achieves a nice balance between With the help of Waldorf education and the special empha-
expanding and contracting gestures. After about 15 minutes sis on the artisitic faculties, paths opened up to turn the oth-
with this exercise we sat down and I asked them about their erwise hopeless situation towards something good.
life and circumstances. The movement exercise has already
moved something of their shyness and unwillingness to join Eurythmy in prisons with older people
in. You could clearly feel that the movements had already At that time I lived in Kalamazoo, Michigan. Since I need-
touched that hidden source of positive energy which, slum- ed a big space in order to teach eurythmy, I bought a house
bering, is only waiting to be freed. After this some other young in the coloured quarter of the town. During my youth in Hol-
people showed willingness to join in the further exercises. land, I grew up with the idea that all human beings are equal
This time I chose the exercise “Peace before me, peace and should be respected even though their style of life is
behind me, peace above me, peace below me, peace beside quite different from one’s own. So I found it quite in order to
me, peace in me, peace all around and within me” [native live in a coloured area of the town. Nevertheless, I soon expe-
North American. Tr. note] with the movement of M. It is a rienced that it made a great difference for those who would
wonderful phenomena to be able to observe how spiritual have liked to join the workshops in my house.
forces become free when the willingness for artistic move- I met at first hand the world of drug-dealers and criminals.
ment is given. When people I knew from there landed in prison, I went to
Young people experience very deeply their loneliness visit them. They introduced me to other prisoners. So it
caused by troubled family conditions, and they seek for came about that I was asked to offer a eurythmy-course for
community with their peers. Finding no security with their long-term prisoners. My contact person tried to obtain per-
families, they find a kind of substitute in the street gangs for mission from the prison authorities.
the loss of family connections. If young people retain no real So far I had done eurythmy with children and adults with
guidance during the period of the development of individu- or without handicaps. Even when I worked therapeutically
ality, they fall under the pressure from their peers. On this with eurythmy, I found it utterly important that young and
ground criminal acts develop. old could always experience joy with eurythmy. Eurythmy
 S T A G E F O R U M
5

indeed is deeply connected with feelings of joy and inner this group in prison, but in relation to the factor of time, I was
freedom. And in the work with elderly and even old people, the learner! Consequently there was no time for fear and
the feeling of inner freedom should form the basis of the cre- insecurity.
ativity of movement, even when they are limited by their In each eurythmy workshop that I led in the ‘free’ world
bodies. since then, it became clear to me how much we ‘free’ people
But now I met people whose punishment was a total can learn from those who are imprisoned for such a long
restriction of freedom, with people who were incarcerated. time. Outer limitation can lead to inner strength.
In some individual talks with so-called criminals I had the The fact that many of them had spent 3 to 6 months or per-
opportunity to talk about eurythmy and my opinion that this haps even a year in solitary confinement, challenges the
art of movement presents something really new and won- human being with tremendous tests. Under such circum-
derful. When I first began this new task I asked myself stances it is possible for the human being to find inner rich-
whether the men were more interested in me as a female, in es and to commence an inner path of development. In a
my enthusiasm for eurythmy, or whether they were able to eurythmy lesson in prison, as I have described, a meeting of
lay hold of something of the objective reality of eurythmy. I hearts can take place between person to person when the
was soon to find out, of course with some trepidation. person opposite is seen and recognised as a striving being.
The situation I met was indeed unusual. It was 8 o’clock in Perhaps the inner faculties are hidden. In doing eurythmy
the morning when with eight coloured men and I first met in together these faculties could see the light of day and con-
a huge sports hall. I had to enter the prison much earlier. tribute to confirm these qualities within. The best praise I
Many formalities had to be resolved. Forms had to be filled received was expressed in the words, “Truus is for real!”
for each object which I wanted to take with me, for example, There are certainly people amongst us with whom anthro-
a pencil, a book of poems, and so on. I was also twice thor- posophists and especially eurythmists can easily identify.
oughly checked. After the warder left I was completely alone People who initially appear nearer to us because they seem
with these eight men. They had not seen a woman for years, to come from light-filled regions and who are prepared only
except perhaps once a year a visit from a family member. I very carefully to come into contact with darkness and grav-
knew that they were all condemned for either murder or rape. ity. But there are also others amongst us who from the dark
Many people asked me afterwards whether I was afraid to do world of crime are seeking the light.
eurythmy in such an environment. If I answer honestly, no, I saw the necessity for the being of eurythmy to feel into
for my attention was solely to bring something positive. the darkness in order to gain a deeper reality and truth than
Before we could start to do eurythmy a basis of trust had would be the case without this experience. People are need-
to be established with them, especially with those whom I ed who are prepared to bring eurythmy to those who have
had not been able to meet individually. It was my task to experienced the darkness of life and who out of this can
meet them through a shield of indifference. This was their enrich “the life of eurythmy”.
protection. A prison-surrounding is well known as a negative
environment. You keep to yourself, revealing nothing. Since Poetry? What’s that?
I had planned to do some movement exercises with them, I I was very moved when one participant said, “If we would
asked myself whether they would go along with so much have had this when we grew up, we would never have land-
positive activity. There we were, eight so-called criminals ed in this place.” Quite true! Imagine my astonishment when
and one European, from a completely different life-per- it became clear to me that none of the eight participants had
spective. heard the word ‘poem’. The schools in the black quarter of
After a certain basis of trust was established, and some the city were apparently so bad that the teachers mostly had
introductory explanation on the meaning of sound-ges- had no access to a rich schooling. and the lessons could nev-
tures, they were ready to explore this new world. It was er appeal to the inner creativity of the children.
remarkable that they all got completely involved. They I have already said that I am pleased about the public
exceeded themselves in expressing the sounds in this or that Charter Schools in the U.S.A. since the poor and underpriv-
manner. In other situations the participants usually wait for ileged children can nevertheless benefit from the advan-
the instructions of the eurythmist. But here, after grasping tages of Steiner-Waldorf education. Years later I had to admit
the basic idea, they were completely happy to explore them- that in the long run it is more important to fight for freedom
selves. They entered exploration of the sounds in such a way in education, for free schools. The meddling in education by
that I felt a complete beginner. the state and business world hardly allows bringing to the
In these first 2 hours we were concerned mainly with B and light of day each child’s unique potential. This is threatened
M. These sounds were explored in many ways by them to be covered by the norms of society.
together and on their own. They wanted to explore all aspects
of the movement and to research it in relationship to the out- The power of despair
er and inner space. During these hours they were not prison- Eurythmy makes it possible that impulses of the will can
ers of the state, they were ‘research travellers’ on the path on be spiritualised. According to my observations, sport cer-
individual and spiritual development. During all the further tainly activates the will but the effect is only of short dura-
meetings, this intensive element of research continued. tion. It ceases when the person stops training. It is different
Those serving long sentences of 4 to 7 years—just because with eurythmy. This is shown in the following example.
of this long time—was an advantage for the movement activ- David, the son of a dear friend, lost himself in the drug
ities. Here the aim was to bring time in the unfolding of every scene. It went so far that in his LSD hallucinations that he
gesture to an inwardly strong experience. I gave perhaps the thought he could fly. When he jumped off a hill in Marocco,
initiative that made it possible that eurythmy was done with he experienced a hard landing. He was taken by the police to
 S T A G E F O R U M
6

prison. There he had to deal with withdrawal symptoms and too? Then a light extinguishes in my soul. Some people here
tried to come to terms with his addiction. One can perhaps are still active, but then it is because they are working in con-
imagine the scenes in this purgatory: the torment of pains of junction with a Waldorf school (which I don’t wish to do
soul and body, the screams of despair. When the son of my because I don’t want eurythmy to stay confined within the
friend went through this hell, memories also arose in him. At Waldorf movement) or they are living on social welfare (if
first it was the voice and songs of his mother, who had sung there is no other choice, then it is of course a different ques-
to him when he was small. Then there followed the memory tion). In the latter case, I do not see a future either, because
of eurythmy which he had done for many years in a Waldorf like this, one will never have enough money to do eurythmy
School in England. These two things gave an inner peace. He really professionally, and one will always stay a beggar if one
began to do eurythmy for himself in his cell. The effect was wants to do something with eurythmy. (Let alone the fact
so noticeable not only for him but also for his cell-neighbour that one will have to live like a beggar, and isn’t that a bit too
that the prison warders noticed what a good influence he much of a sacrifice? Am I then not disrespectful of my own
had on the other inmates, not because he spoke to them healthy limits? Can something healthy come out of this?) It
about it but only that he did eurythmy for himself. For this doesn’t need to be so professional as long as we stay within
reason the prison director decided to keep David longer in our anthroposophical circles because the acceptance of
the prison section of ‘hell torments’ and not to house him in eurythmy here is much easier, but it has to be professional,
a more civilised section. In this way the positive influence of if we want to link with the world.
eurythmy could benefit those who were urgently seeking Is there a future for eurythmy if we stay within the anthro-
inner peace. posophical circles? In these circles we have the tendency to
The book is available from: accept things just because it comes from one of our mem-
Diametro Verlag, CH-4144 Arlesheim, Hollenweg 57. bers, things which could never be done that way in front of
the world. And thus we are more and more getting shut off
from the world. But eurythmy is not only for us, eurythmy is
for everyone! We already know this eurythmy but shouldn’t
we make it possible for other people to meet it as well? I don’t
Courage for the Social Venture mean that we should go out into the world like missionaries
of Eurythmy and convince everybody, but make it available to those, in
whose destiny it lies to meet it.
Werner Barfod, CH-Dornach, December 2005 But it is very uncomfortable to do this work, it is very
demanding, difficult, and without guarantee that all the
In the letter reprinted below, many questions and sugges- efforts will ever bear fruits. I feel myself failing so badly! I
tions are expressed that concern eurythmists today in all wasn’t prepared for this! I wonder sometimes, if eurythmy is
parts of the world. so weak in the world because we are not prepared to enter it
What is the effective substance of eurythmy, how do I learn and most of us fail and give up? One needs many more addi-
to use it for the people in the cultural life of today? What abil- tional skills which understandably are not part of our eury-
ities do I need freely to carry eurythmy in the world? How can thmy trainings. But there is certainly more learning to be
I find help in organisation and in communication, in man- done before one enters the world, because the trainings (I’m
aging publicity, or to become capable myself? How am I pre- speaking in general, not of a particular one) as conceived
pared in the eurythmy training to bring eurythmy into the right now, prepare us to be active only within anthropo-
various domains of life? How has eurythmy to be taught so sophical communities.
that I find the way autonomously to these demands? How One crucial thing to know is how one will survive without
can I finance all this ? (yet) having an income that comes from the work with eury-
We are concerned with all these questions in the meetings thmy. As the situation is at the moment, one can immedi-
of the eurythmy tutors in the trainings. Only step by step can ately after the training have an income through eurythmy
all the renewals and demands be fulfilled. We are working on solely if one stays within the Waldorf/anthroposophical
it. In a series of conversations with eurythmists who are movement. Out in the world, there are not many who know
active in the most varying professional social fields, we want eurythmy and so one has to do some groundwork. But one
to become aware of the specific faculties necessary for this, needs to have a second job by which to live while one does
to look at them together and make them fruitful for the train- this groundwork! In addition, this groundwork might take
ings. The more people help on how to help others to qualify quite some time and every eurythmist wanting to enter the
themselves, the quicker we shall achieve the deepening of world needs to have a second job at least for some time. Grad-
eurythmy for ourselves and be able adequately to tackle the uating students should know about this to avoid that they
tasks today. become stranded and give up before they even started.
And then, in the times today, we really would need to know
profoundly what eurythmy is and what we do exactly when
Dear Eurythmy Friends and Colleagues, we do a movement carried by the etheric, because people
Do we have to resign from eurythmy just because there is today want and need to know and do things consciously.
no money for it? How do we get access to the etheric the way we do in eury-
This is a question into whose eyes I never looked since I thmy? If we cannot answer clearly, we make a bad impres-
started doing eurythmy, but now it becomes inevitable. And sion such as that we are not really professional. The chal-
I fear it. Because I see how many people here resigned out of lenge lies of course not only in knowing all that (and of
lack of money and I ask myself, will I have to resign one day, course the doing has to go absolutely hand in hand with the
 S T A G E F O R U M
7

knowing), which is already a very difficult task in itself, which like administration planning, public relations (if she/he
could take several years of occupation, but then, how do you wants to do publicity her/himself she/he needs to have very
put it into words that people can understand? For this I good language skills and computer know-how) and
found, I need to study the world these people are living in, accounting to find subventions and donors. If this looks like
for example, if I talk to a dancer, what is his vocabulary, too much for one person (because right now she/he is also
where does he come from? Or a physicist, what’s his under- still working in her/his second job), then maybe she/he finds
standing of force, gravity, levity, etc? It looks like we need to other people to help her/him? But helpful people might
make this gesture towards the world in an honest way of want to get paid, which is their rightly due, but there we get
wanting to understand. Steiner himself used to be so back to the beginning again with the eurythmist already
informed about the world! Then I can somehow link to them working in a second job because she/he doesn’t have
and in a conversation or written text lead them to an under- enough money. How should she/he also pay for everything
standing of eurythmy. So, right here, we have already three himself in addition to having to take time to develop profes-
big tasks, apart from being a good eurythmist, we not only sional skills? Every beginning eurythmist needs to be able to
have to penetrate deeply into anthroposophy to understand invest. There is publicity needing to be done, a room to be
eurythmy, but we have to also penetrate different realms of rented, a pianist to be engaged, before you have income
the world. For example: what are the different dances about, from the eventual students! And very often you don’t have
what is Tai Chi, so many people absolutely love it! What are enough students for the course to take place, so you loose
the modern scientists thinking, what is the world view of a what you have invested in publicity, you have to pay a can-
psychologist, someone who studies linguistics, you name it! cellation fee for the room you reserved, etc. All this with the
We might not have to do all of them, but certainly those to money of your second job which you took on to help you sur-
which group we want to address ourselves. Big tasks! All this vive… Do we have to resign? Many people do resign or return
should ideally belong to a professional eurythmy training back to the anthroposophical or Waldorf communities… the
(No criticism to anyone in particular. I’m just reflecting. I link to the world? Failed. I fear to think whether I will have to
think it is nobody’s fault that the situation of eurythmy is as resign, too?
it is right now, but how do we make it better?) It looks to me, I think I will try one thing: I will take time. I will take time
that the eurythmy trainings we have today all over the world to prepare myself for the world, to do one thing after the oth-
are only semi-professional. No music training would take a er, to try to develop real professional skills (all within the lim-
student who has never played the instrument he wants to its of my abilities, of course) as mentioned above. Meanwhile
study before! The opposite is true, not only does he need to I might find some source for starting capital. Only if I have
have learned to play an instrument for several years before done all this (there is no must of course), only as long as I like
he begins a training, but he also needs to be good at it. In to do it, do I see a real chance for a eurythmist to come into
eurythmy trainings we accept almost anybody (of course, if the world. But even after all this, it might not work, because
people would want to do it just for their own health, trans- eurythmy is too new in the world (or has it gone into an
formation, or inner development, there should be a place for unhealthy direction and that’s why it has to disappear,
that, too, but maybe not in a professional training?) often maybe in order to be reborn?) So I better make sure I like the
because we wouldn’t have enough students for the school to path or at least just as much as the results! All I can do is try.
survive otherwise. But with this our level of professionalism I’m writing you all this because these are burning ques-
goes down, which makes it impossible to have a standing tions for me. I wonder if you have similar burning questions.
before the world, which attracts less students, which means If you feel inclined to write back, I would welcome the
that we accept anybody, which puts the level down even exchange. Maybe it can help us to go further.
more. How do we get out of this? I hope eurythmy will continue to exist. (But also there I
In the field of eurythmy, we are lacking a thing which exists wonder what is really the reason that I want eurythmy to be
for other arts (music, dance, etc.) and that is pre-profession- in the world? Just because, I like it?) To be clear about this
al schools. The only people who have done quite a lot of might give additional strength. I might find an answer in the
eurythmy before they want to begin training are people understanding of the real nature of eurythmy.
coming from Waldorf schools. But we would need more than I hope this letter finds you well,
that. We would need schools that offer eurythmy courses Claudia Maurice (Lohse)
independently from the school for children. I’m thinking Montreal
here of an equivalent to music schools. Wouldn’t it be some-
thing to have little “eurythmy schools” all over the world
where children (and adults) could go, as they do nowadays, ** Please send your suggestions to the “Sektion für Redende
to music or dance schools. Of course the teachers of such und Musizierende Künste”. We will distribute them, and
eurythmy schools would have to be trained such that they process the questions with the tutors of the trainings.
are able to survive outside anthroposophical communities.
If then the professional eurythmy trainings could recruit
their students from such schools, they could from the start
begin at a much higher level and integrate all the subjects for
which we simply don’t have the time in our trainings today.
Such eurythmists would be really skilled and professional.
Might the eurythmy thus gain a standing in the world?
Apart from this a eurythmist out in the world wanting to
establish courses or other [programs] needs to have skills
 S T A G E F O R U M
8

“In the beginning...” always expressive, always filled. The question of musical
transparency could also be asked of the music—after all, the
A celebration of birth and life
composer treats the piano both as a string instrument and
Alan Stott as a tuned percussion instrument. After this performance,
the appreciative audience were reluctant to return home!
The mood of co-operation and exchange in the artistic world It is surely true to say that in our ambiguous existence
internationally led to rich events in the Anthroposophical here on earth, we caught authentic glimpses through this
Group and at the Glasshouse Theatre, Stourbridge, on 4th & artistic event of a world beyond contradictions, where cen-
5th February. Göran Krantz, Yärna, spoke on the state of the tre and periphery, music and speech, yes, even the divine
latest music research with regard to “Art, Culture and and human, not only mutually relate but are seen to be what
Health”. Sweden is leading in important developments, to ultimately they are, at one—thanks indeed to the Event to
which the “Research Institute for Eurythmy, Music and which the evening was dedicated.
Movement” in Yärna also contributes.
On Saturday evening, four pieces from Olivier Messiaen’s
major work for solo piano celebrating incarnation and birth,
Vingt Regards sur L’Enfant-Jésus, ‘Twenty Contemplations
on the Infant Jesus’ (1944), formed the core of the eurythmy The following article is a response to a question by Werner
performance “In the beginning...”. Some accompanying Barfod whether I would write down my experiences of creat-
texts by Rudolf Steiner, Kiowa and Navajo native North ing and touring ‘Steiner Graffiti’. It is a personal account and
Americans were recited by Hans Lindmark, who suitably is thought of as a sharing of a journey with colleagues.
conveyed the warm, subdued mysticism of the Affirmative
Way. The music was expressively and flawlessly played by Steiner Graffiti
Oskar Ekberg, a young Swedish pianist who specialises in
this original composer. With complete command, Ekberg Christopher Marcus, GB-London
celebrated the pervading mystical element (also written in
the score): the quiet and weighty Theme of the Father, the It’s been a long journey. The last three years in particular.
tenderness and innocence of the Virgin, the rich suggestions They are the tip of the iceberg, the below-the-surface part
of light and colour in the instrumental textures including the being thirty years of making theatre.
evocation of birdsong (visions of angels?) and the vivacity of I had come to the point, after directing enormous pro-
asymmetrical non-European rhythms. The imaginative ductions with enormous budgets, to enter into the sobering
lighting-design, created and executed by the artistic director, process of trying to act again, get back to basics, be on the
Göran Krantz, supported the remarkable variety of events in receiving end, be skinned and try and find out through my
Messiaen’s exacting musical score. own doing, where the problems lie.
Charlotte Veber-Krantz interpreted the whole programme After two years of performing the skinning needed to
in eurythmy. Her dresses of delicate colours were simple, speed up. It was time for going solo, where nobody could be
enhanced by a slim veil. For the final piece, Regard de L’Eglise blamed except myself. Taking full responsibility, walk the
d’amour (‘Contemplation of the Community of Love’), she talk for the first time.
appeared in a white trouser outfit to execute with exactitude In order to do this, I had to ask myself ‘what did I really
the intense and ecstatic transports of joy. The pain in reiter- want to/have to perform?’ This led me to ask ‘what was the
ated discordant seventh harmony was transmuted into a most essential and intimate question that I carried in me?’
positive and intense transcendent awareness. The answer was, ‘what is my relationship to Steiner, and how
Participants in Saturday’s workshop were introduced to has this affected my freedom?’
the director’s approach. The search for the basic gesture, the I was very lucky indeed to work with a colleague and
characteristic style of each musical phrase invited an explo- friend, Klaus Jensen who’s spiritual and artistic insight and
ration in feeling. An initial reaction can lead to a deeper firm but gentle care made it possible for me to trust and
experience, finally to be released in expressive gesture. Here become vulnerable, enabling a journey to begin to try and
the musicality of the Swedish language, too, was a delight to act Steiner’s life. It was to be low budget, low tech, with one
experience, a fine medium for the gentle nature-mysticism portable blackboard. We rehearsed 101 days resulting in135
of the texts. This was expressed in movement through an performances in nearly only non-anthroposophical the-
awareness of centre and periphery. atres, in ten countries. I managed to earn back a large pro-
The same polarity, characterising all eurythmy, formed portion of the costs.
the basis of the evening performance. What at times could be The whole performance was developed out of improvisa-
taken in the direction of expressive dance was filled with tion, out of our studies of different Steiner biographies, and
artistic presence. In a performance, matured since the first our experience and studies of Steiner’s works. The rehearsals
performance two years ago (Dornach, February, 2004. Das culminated in two performances for an invited audience.
Goetheanum 9/2004), a fresh “second innocence” was They were positive and the tour could have started then,
evoked. Charlotte Veber-Krantz convincingly managed to except that both Klaus and myself had a clear feeling of “No,
penetrate the performing space. Her footwork was breath- not like this, not a historical rendition of yet another great
taking, especially in the finale. Yet were some passages over- man’s life”. Personally for me, Steiner is not history; if he is, I
simplified in gesture and choreography? Did the poetic am, and I don’t like to think that I am history. So began an
mood not quite satisfy the musical demands in all their elo- extraordinary process of peeling the onion, so that my biog-
quence? The movement nevertheless was never tedious, raphy could be unearthed and used to tell that of Steiner’s.
 S T A G E F O R U M
9

Because I am a third generation anthroposophist, most of and a half hours, I have the opportunity to live into and get
my life has been formed by his work. An unsettling task inso- to know the audience quiet intimately; what they look like,
far that the last thing I wanted to do was to put my life up their ages, how they are listening and so forth. You might be
there in the limelight, give the impression that I wanted peo- able to appreciate the following experience that I had on a
ple to know about my personal stuff. It seemed though for us number of occasions; from time to time I recognised some-
that this was the only way of being authentic and avoiding one who I knew happened to be a Class member. The per-
the deadly danger of giving the impression of preaching, son sat in the audience with legs and arms crossed, close to
having the ulterior motive of getting Steiner’s message what I am doing. What those people radiate is almost phys-
across. It must at all costs be what Klaus and myself could ically tangible. They of course don’t have to like it, that would
inwardly stand behind. be ridiculous, its just that something very particular seems
I decided early on in the process that I would not use to happen when they watch and I imagine that they have no
Rudolf Steiner’s indications given for the renewal of the dra- idea what their negativity is creating in our common space.
matic arts; the five Greek gymnastic disciplines and the six It takes a great deal of concentration and belief in what I am
gestures which culminate in the artistic revelation of the doing to not allow them to totally disrupt the performance,
spoken word, even though I have taught and used them as disrupt insofar that it alters my openness to the rest of the
the foundation for nearly all performances in which I had audience and therefore the mood that I am trying to create
been involved in. Instead I would prepare my voice through about Steiner. Strangely enough this is not a problem with
the ‘Aale’* exercise and instead of throwing the javelin, some- those that are not Class members and didn’t like the perfor-
thing impossible to practice in hotel rooms and stages, I mance.
would prepare my body through the Bokken, the Japanese As the months slowly went by and I got accustomed to the
wooden sword, which forms the foundation of Aikido, the many different audiences in the different countries and the
only non-competitive martial art. The sword became the many different responses, I began to ask myself again and
metamorphosis of the spear, which Steiner describes as the again what it was that I was actually doing. What sort of art
occult expression of the spoken word. was I actually putting on the stage? Would Steiner have
Before each performance I practiced the ‘Aale’ exercise, approved? Was it speech formation? Definitely not that style
which took me about an hour to complete the cycle of its of speech formation that I had learned and taught. Was I
three steps, a cycle, which I found, prepared my mind, soul working with the sounds? Somehow yes, insofar that my
and body for the performance. Working with the Bokken was whole ‘Aale’ preparation had prepared my voice for the con-
approximately half an hour. Then ensued a brisk half hour tinual weaving of the language from epic to dramatic to lyric
walk until half an hour before curtain-up, after which I placements, and how they manifest themselves in the four
would get changed, sit quietly and do something which I sound groups and yet what I did, did not sound like it was
share here with colleagues as I don’t think at this stage in the “supposed” to. I was actually just trying ‘to be’, wakefulness
game that inner processes should be kept secret even under the influence of my preparation, under the influence
though they are very personal, they are as an important part of the audience, and the rehearsed performance. Towards
of the whole for me as the voice and body preparation: First- the end of the tour, as a sort of impending crisis began to
ly focussing on the elemental world that live and imbue the make itself known, crisis insofar that I didn’t know what to
space on which I will be performing; secondly inviting those do next and I also needed to know what I was actually doing
souls of the dead that wish to participate in what I am offer- and why. I realised to my shame that well over 100 perfor-
ing; thirdly addressing my angel to ask for help; fourthly the mances had been shown to 1000s of people with an under-
Lord’s prayer and finally to connect to the individuality of lying feeling that I had something special to say, that I had
Steiner, without who none of this would come about. some sort of undefined message, a sneaky feeling that I was
This last connection was exciting insofar that I never knew trying to get a message across and that I was somehow more
what I would get. Sometimes I would “see” the gentle earnest special than them. After a time of not wanting to perform at
face, sometimes the humorous smile, sometimes an almost all and with a sort of painful relief, I found that I was able to
frightening sharpness and so on, but always encouraging simply share what I had to give, the same way that anyone in
and giving me something to which I could tune the perfor- the audience could have shared what they had to give and
mance. Then I would mix with the audience, trying to that I was doing it in the limelight simply because that is all
become familiar with that group of people that had come to I can do, that’s my karma. So only at the very end was I able
see me, so that my getting up onto the stage was, so to speak, to simply be together with the audience and participate in
in their mode which would then gently change until Steiner an event that we actually created together. It became a sort
was finally introduced. of celebration. I understand now why Steiner says that only
I have received astonishing positivism from all quarters, after 50 performances does one get into actually performing.
encouraging, confronting and warming, particularly from So finally, what now, what to perform next? For me the
people who had never heard Rudolf Steiner’s name before, answer is: nothing. No theatre for some time.
and from colleagues of the theatre. As usual, I seldom got to Steiner Graffiti has brought me to the point where I cannot
hear something from those who I know were negative about tolerate inauthenticity in myself. Acting has to be art but vul-
the show. Because of the personal nature of the performance nerable, very personal, truthful and open and not hiding
and the fact that on five different occasions the lights go up behind masks and methods and forms. I have begun a two-
on the audience and I speak with the audience as one to one, year training to become an Interfaith Minister.** Not because
I am very vulnerable and dependent on how they react. I am I particularly want to be a minister but because I need to walk
not able to hide behind the spotlights. This means, of course a path where I find my own relationship to myself and the
that during a performance which lasts approximately one spiritual world as apposed to the one via the books. This is
 A R T I C L E S
10

where I am now, how this will show itself in the future in my * Aale. “Aale ich will nicht dir Aale geben …” is the first line
work with theatre when I have finished my training, whether of a long speech exercise; one of the very few Steiner gave
work with theatre at all, remains to be seen. specifically for actors in his lecture course Speech and Dra-
Steiner’s Mystery Dramas are still by far the greatest chal- ma. Depending whom your teacher is it can take between
lenge and wonder for any theatre maker and would need a twenty minutes and one and a half hours.
new approach in relationship to the needs of the present time.
** Interfaith Minister. Someone nondenominational who
creates and holds rituals and ceremonies, celebrating
life’s most important events for people of different beliefs.

ARTICLES

Supplement to the article by Thomas free human being. This on the one hand has the character of
experience, and on the other hand gives security for the
Göbel, “An Arrangement of the Human
future. When you give your word, it counts. When the condi-
Soul-Moods”, Newsletter, Michaelmas tions and situation change, a conversation is needed in
2005 order to come to a new agreement, or the old agreement
needs a changed form. Reliability in a social context gives
Thomas Göbel, DE-Öschelbronn
life-security, which is a condition for a fruitful collaboration.
Working together in such a connection will proves to be
After such an overview of the round-dance of human moods, fruitful. An ability arises which takes away all the weight or
the question can arise, Of what does a free human being a relationship. A free human being can smile, and laughing
consist? This, of course, can only be the individual human is not only the expression of friendliness but joins heart with
being himself, not the sum of his soul-moods, because the hearts. It is the expression of the most human of all soul-
soul-moods arise without the impulse of the ‘I’. As a rule moods, the uninhibited meeting of human beings.
they are not consciously experienced by the ‘I’ but only expe- To conclude. We recognise a free human being through his
rienced by the soul. This soul-experience as a rule fills every- – amiability
day experience. In daily life only impulses of the will are – politeness
active, laid hold of consciously or half-consciously. The will, – reliability.
the activity of the higher human ‘I’, as a rule determines the And he can smile.
soul. Whoever has practised to bring forth the soul-moods
belonging to the will-impulses out of his/her ‘I’ developing
this into a faculty has travelled far in his life. When decisions
of the will arise out of the conditions and situations of life
and not out of the ego, then, in this regard, the human being Waking up the Human Being of Move-
becomes a free being by loving such a deed. This side of the ment and of Speech—the Birth of Eury-
free human being lies far from all fundamentalism. No
thmy through Rudolf Steiner
unchangeable basic laws, ways of conduct, or everyday rou-
tines then exist. The free being, who has learned to behave Werner Barfod, CH- Dornach
in such a way appears to his surrounding world as an ami-
able person. This quality is one of three of the free person.
A second side of the free human being is shown in his con- Seven preliminary exercises to awaken the human being of
duct in dealing with the soul moods prevailing in his social movement and of speech were given at the beginning of
environment. Here, whoever develops a certain perceptive Steiner’s instructions in eurythmy to Lory Smits in Decem-
faculty will only speak when he has something to say, having ber 1911 in Berlin, and in Kassel in January 1912. In August
a significance for the social situation in which he stands, and and September 1912 in Munich the first indications for the
from what he can assume will be of interest for whatever rea- beings of Steiner’s Third Mystery Drama and the eighth exer-
son. What one calls “conversation” develops. Every conver- cise, which like a seed at the same time opened the door to
sation that furthers a thing or situation demands politeness eurythmy.1 These seven preliminary exercises are also a path
(Zuvorkommenheit). A future aspect lies here, restraining which can give orientation in the training, teaching and
the ego from taking part in conversation where things are artistic work. They are, moreover, key-exercises for certain
said that do not follow out of the situation. Already the word faculties through which the basic artistic-eurythmical ele-
Zuvorkommenheit contains in “Zuvor—beforehand” the ments arise, as for example, standing in the centre, to expe-
future aspect, indicating that we are dealing with an intuitive rience the periphery, or threefold walking, the listening for
ability. A living politeness cannot disappoint the partner in the movements of language, and so on. In what follows,
conversation. something of the experiences in working with these exercis-
The third side of the free human being lies in his reliabili- es is described, whereby the exact words to the exercises can
ty. To be able to rely on each other is the third quality of the be found in the first pages of the cited publication.1
 A R T I C L E S
11

The first exercise The third exercise

To walk alliteration, like In looking at Greek
the bard on a Nordic coast, sculpture, it is important
on the cliffs in the storm and to experience the human
by the pounding, breaking form from within, in its
waves of the sea. relationship between
We stand upright, sup- earth and heaven, to
ported and carried by the restriction or freedom. Is
sure ground of the earth, the “I” still active from
with firm step, reaching with our whole upright posture into outside, making the
the light, into the free sky, the dome [of the heavens] above gestalt appear restricted
us, having through this the strength to hold ourselves with an (as with the early Kuros
energetic gesture against the periphery of the elements, in figures, or still with the
conversation with the periphery. In our imagination we stand ‘Apollo of Tenea’), or does
completely in the picture of the bard, raising our voice out of the gestalt appear as laid
the strength of our breath against the pounding elements. hold of from within (as
Within is warmth, above and behind us is light, below us with the ‘Charioteer of
solidity, and around us challenge, dialogue with the world. Delphi’), or does it seek for a hold in the periphery with a
The human being of movement is addressed in the centre standing leg and a freer leg (as with the Apollo Sauroktenos,
of his will, around the solar plexus to anchor himself with the ‘the Lizard-Killer’). The etherically-felt periphery visibly
step. The part of the bodily gestalt full of light is held freely plays around the ‘Nike’ of Samothrace (‘Winged Victory’)
in the upper part of the human being with the forehead and and ‘Poseidon’ with his wide-open gesture and open step.
the region of the head, out of the trust of being held upright Out of this looking at Greek figures, in practising the eury-
in the “I”. Between these regions, the soul-filled middle thmical step, there develops that which revolts against
breathes in the region of the chest and shoulder girdle, restriction, that which moves, carried freely, and then touch-
together with the gesture towards the world, preparing . All es the earth again in the placing. The step receives an
three soul-forces are addressed with each respective task for impulse from the seat of the will around the solar plexus, in
the human being of movement and speech. The will in the dialogue with weight, in the overcoming of gravity. It is freely
step, the intention in becoming upright, the relationship to carried over and brought into a direction by the intention of
the world in the gestures which are meant to speak. The thought, and, in placing, touches the earth in the accom-
human being of movement is made receptive for the soul: plished deed that is felt, perceived by the heart Steiner char-
thinking-feeling-and-will as the basic prerequisite for visible acterises the soul-sequence in the step as: will-impluse,
speaking. thought, and deed. In walking, the soul-feeling source of
movement has then to take over leadership and to include
The second exercise the point of departure of the will, so that it radiates in a flow-
It is especially necessary to gain a ing stepping. It is as though the eurythmist does not need the
basic knowledge of the anatomy of ground as resistance, neither as moment of rest. With the
the human body, the physiological freedom of the centre of the soul, the gesture is also
processes, especially of the human addressed in its dual quality of radiating out and receiving
being of movement. The mood of from the periphery. Even the posture of the head, belonging
awe faced by the human gestalt as a to the upper peripheral area, receives its language of expres-
temple belongs to this. The prerequi- sion. In this way the gestalt becomes an instrument for the
sites are the bending and stretching whole soul: thinking, feeling, and will.
of the free limbs, the arms, and of the restricted limbs, the legs.
Here on the one hand the study of the step / stepping The fourth exercise
begins, and on the other hand bending and stretching, that
contain “using up life-forces” and “releasing life-forces”, mir-
rored in the darkening and lighting-up of the aura and the
feelings. In feeling through these movements, the “feeling
perception” begins as a process through the limbs which
has to become an organ for the person practising eurythmy. turns the attention within, with the intimate task of trans-
In order through the course of the training to experience lating the dynamic of speech into movement, to hear how
oneself in movement relating to the eurythmical element or different syllables with the same vowel-sound are formed by
to the gestalt, the “feeling perception” becomes the basis for different consonants. It is practised from within, with the
one’s own practice. In an awake-dream, I feel the process of example “Barbara sass stracks am Abhang— ”, to listen to the
movement; I can also change and correct it in the activity of movements of speech, to listen to that which moves along
the present, without falling out of the stream of eurythmical behind the pictures of the speech, which is essential for the
movement. How much weight; light or warmth; how much eurythmical fashioning.
tension or release; how fast or slow—am I in my movement? With this, we prepare ourselves to listen for what sound a
Later a feeling of intention and of the periphery come to this. whole poem is attuned. Eurythmically, the most important
It becomes, consequently, one of the most important tools thing is to experience a poem in its speech-gestalt, to listen
for a subjective-objective creating. to the content of the sounds and to feel within oneself how,
 A R T I C L E S
12

through the element of speech, the movement is led into by the movement as carrier of the will in the step is once
experience. To speak a poem half-aloud to oneself, until the again taken hold of here.
movement-gestalt becomes active and becomes available
without one’s speaking—as a sequence of movement gives The seventh exercise
the strength to listen through, or behind, the words out of relates to the
which the wholeness can then be formed in a sovereign archetypal round-
manner. In listening, the human being is more strongly dances which con-
involved with his will. The sympathetic movement of the tain an initial
larynx is consequently necessary for an understanding per- beginning in mov-
ception. With this a direct help for eurythmy is given. ing together. The
one round-dance
The fifth exercise is moved with sev-
is initially a geometrical eral people walk-
exercise on the human ing on the circle,
gestalt. Agrippa von each person is
Nettesheim’s six figures joined by a second
are to be practised as person who circles around a first one; an archetypal planetary
positions, and subse- round-dance. The second round-dance is moved by several
quently lightly and people on two lemniscates, whereby the crossing-point is the
quickly jumped from common centre. These are the first choral spatial-movement
one position to the next. Attention is to be paid to the paral- forms, without sounds or other eurythmical content. For
lel movements and the counter-movements of the arms and practice, a suitable musical accompaniment was composed.
legs. It is an exercise for controlling the bodily gestalt, which These practice round-dances are completely held to a
at the same time concentrates the soul in the gestalt, with centre on a geometrical basis. To practice together in space
the periphery included in various ways. demands a different attention; the person practising is at the
Only twelve years later was the eurythmical meditation “I same time orientated to the periphery.
thinks speech...” given.2 With the first three positions, the About half a year later, in August 1912, there followed in
soul is anchored in the movement-instrument; with the next Munich the indications for the “beings, which in a dance-
three positions the soul opens to the periphery, strives into like manner, carry out movements which present thought-
the spiritual widths, connecting with itself in the body as forms that correspond to the words of Lucifer and Ahriman”
well as with its Self in the periphery. (Scene 6 of Steiner’s mystery drama The Guardian of the
With this exercise that always accompanies the euryth- Threshold). For each group three forms were sketched,
mist, the central cultural task of eurythmy is manifested, to whose positions were to be taken in quick change, each time
create the bridge between the ‘I’ in the body and the Higher indicated by a sign. This was also accompanied with vowel-
Self in the periphery with each gesture that is intended to be like gestures in a changing sequence.
a eurythmical gesture. When thought—not concepts—res-
urrects in the will, then “I think speech” comes about as a As octave to the seven exercises
gestalt-meditation. In a rhythmical breathing, it connects there is added in September still in Munich 1912 the first
what appears to the senses with what is laid hold of in the exercise for eurythmy, like a seed: IAO in the bodily gestalt.
realm of soul and spirit. In the upright posture, a kind of pillar of light is to be felt
from the ball of the
The sixth exercise foot (foot-point) to
consists of writing with the feet, in the forehead (head-
clear, organic letter-forms, the left point) as I (‘ee’). Fol-
foot in mirror-image. A subtle feel- lowing this, bending
ing for the movement of the foot backwards, head-
and a differentiated relationship to point behind the foot-
the earth comes about. point; feel this as A
It is clear that through this exer- (‘ah’). Finally, bend-
cise the step and walking become filled with light in the ing forwards, head-
obscure sphere of the will. With the step, expression of the point before the foot-
word is indicated; through this the movement-forms in point; feel this as O (‘oh’). The arms, not yet free, remain con-
space receive living, expressive force. It is an ancient law of nected to the gestalt. The additional task is to experience this
the dance that a step precedes each movement. This shifting of the gestalt in the soul as colour.
moment of the awakened expression of will through the ade- With this, the three main soul-sounds IAO were given in
quately-led step, is also the basis in eurythmy. A tremendous seed form. The human being standing between earth and
amount of artistic forming depends on the expressively-led heaven, carried from below and freely surrounded above as
step, i.e., the strongly differentiated step. The effect of the the picture in the I (‘ee’). In the beholding, perceiving, receiv-
forming, the authenticity in leading the overall gesture, the ing the world like a breathing-in, the human being stands in
identification right into the will, the character of a presenta- the picture of A. Breathing out, giving yourself, becoming
tion that touches the audience are all connected with this. one with the periphery, the human being appears in the pic-
The source of the movement lies in the solar plexus, where- ture of O. The human being as ‘I’-being in space and time.
 A R T I C L E S
13

Eine Brücke ist der Mensch The human being is a bridge The Foundation Stone in Eurythmy
Zwischen dem Vergangenen between what has past
Supplement to the Newsletter, Easter 2002+2003
Und dem Sein der Zukunft; and the being of the future;
Two contributions on the development from
Gegenwart ist Augenblick; present is the moment;*
Entrance to Exit
Augenblick ist Brücke. the moment* is bridge.
[*St Paul’s ‘twinkling of an eye’. Tr.] Helga Steiner, DE-Kassel
(beginning of a verse by R. Steiner, 24th December, 1920)
At the beginning of the Entrance (before the Vortakt, or Pre-
Already in this seminal exercise, eurythmy is based on the lude) the I (ee) appears in the back of the stage. It forms at the
human being as the spiritual source. The pillar of light of the same time the centre of two curves, or spheres which move
sound I (‘ee’) in front of the human being appeals to the contrary to each other. The main part of the curve, or sphere,
gestalt in its etheric completeness; the physical uprightness remains invisible, since they move far behind and beyond
through the back is the prerequisite. Even the three move- the stage-space. We perceive a calm centre in a large moving,
ment sources of the soul are experienced on the gestalt like cosmic spheric realm.
growing points. In the pillar of light of the I (‘ee’) the point at After the I (ee) has moved down into the earthy realm, the
the root of the nose is touched, in the inclined figure in A the cosmic ‘I’ (or, ego) lays hold of the centre of a new sphere
holding can be experienced around the solar plexus, and in which, actively moving, it penetrates. This sphere does appear
the inclined figure of O the soul-centre can be experienced further in the stage space, yet it also does not become visible
at the level of the collar-bone.3 For the success of this exer- as a whole, but like a large vessel is open to the spiritual realm
cise, the pillar of light in the I (‘ee’) throughout the whole behind. We perceive a moving centre and a resting periphery.
exercise can be felt going with the figure, giving support in Only at the end of the Exit, does there appear, now com-
the inclining. pletely on the stage, a closed circle, a new cosmic-earthly
Step by step, the eight exercises of the ensouled human sphere. From the “I (ee) of the beginning”, that remained
being of movement and of speech is formed for eurythmy. In alone in the space, this sphere appears at the end of the path
our time it will become ever more important, in working through the threefold Foundation Stone. This cosmic and at
with the exercises, always to keep in sight the goal to which the same time earthly circle, arises through and in the move-
each respective exercise is to lead. ment. Its centre remains free—does it remains open for the
The path leads us in the first exercise from the upright event of the “turning point of time”, in which out of centre
gestalt, which is felt as placed into the visible world, towards and periphery a multiple penetrating working-together
the will, in order to awaken the soul in the gestalt. Through takes place—the relationship of the cosmic “I” to the human
the second exercise, we arrive at feeling the movement- “I” (called here in the text I–“ee”). In the Entrance the I
gestalt to the feeling gesture. In the third exercise we per- appears at first quiet, within the spheric movement of the
ceive how the human gestalt in movement unfolds out of the etheric world. Only after the cosmic, activated “I” is added,
wholeness of the movement-body, right into the free step, can the I (ee) begins its path into the world, by moving a
and into the gesture connected to the periphery. straight “I”-line forwards. It is only half an “I”- or ego-line, it
In the fourth exercise we make inward the listened-for still needs the conscious retracing. In the Exit this “I”-path
speech-movement and dynamic in the flow of speech. We finishes in a straight line backwards: as in a signum, a sign,
experience how inwardly-heard speech becomes inner beginning and end link together.
movement; we learn to hear through the words. Additional note: I saw in a performance that the “I” finished
Through the fifth exercise by Agrippa von Nettesheim, we its postlude[-form] directly behind the I, so that the latter had
arrive, through an exercise for the gestalt, at the experience to start the straight path backwards with a curve, giving way.
of the double breathing of the “I”. Yet Steiner’s form clearly shows that the cosmic “I” ends some-
Through the sixth exercise, in expressing the word, we cre- what to the side, leaving the space free for the completion of
ate differentiated expression in the step, in eurythmical the conscious retracing I (ee). I began to ask myself, why?
forms in space. With the Foundation Stone we have entered the Michael
The seventh exercise with the archetypal round-dances Age. The spiritual world begins to withdraw, giving over to
leads us to the choral eurythmy forms with a marked transi- the human being his autonomy, leaving him free. Michael is
tion step of the thought-forms for Luciferic and Ahrimanic waiting for human beings to become active out of them-
beings. selves, in order to lay hold of the connection to the spirit-
The eighth exercise is at the same time achievement and world. A first step towards this we can clearly see on stage, as
seed. The human being of speech is awoken in eurythmy, the mentioned above.
“I” experiences itself between space and time. Out of this The event on the stage also shows us that spirit-presence
seed, very many of our eurythmical foundations are devel- remains—we see how the cosmic “I” on the retracing path
oped. into the spirit-zone of the stage area follows first the “I”-path
which previously was carried out by the I (ee), in order to
—————————— place itself in a semicircle behind the I, there to remain a
1 Rudolf Steiner, Eurythmy: Its Birth and Development [GA short while. In this calm power of calm of standing together,
277a]. Anastasi, Weobley 2005. we can divine a new connection to the spirit.
2 C.f., Werner Barfod. Ich denke die Rede – Leitsatzübung At the end there appears afresh and for the future how the
der Eurythmie. Verlag am Goetheanum 1993. human being becoming autonomously active can form the
3 C.f., Werner Barfod. IAO and the Eurythmy Meditations. final cosmic-earthly circle together with the IAO through all
Mercury Press, Spring Valley 2001. three realms of the Foundation Stone.
 A R T I C L E S
14

Method in Music Eurythmy Each motif, each phrasing, each passage, each piece has
its beginning, its climax and its end. In eurythmy we can
Stefan Hasler, DE-Alfter/Hamburg consciously fashion the flow of time.
As a third element stands the question about time as such,
The manner in which Rudolf Steiner held the two lecture- the flow of time and the stream of time.
cycles on the theme of music and music eurythmy (The In lectures 3 and 5 of GA 278, the following elements of
Inner Experience of Music... GA 283, and Eurythmy as Visible movement in space and of music are mutually related: the
Singing GA 278) can be a stimulation towards a method for “above – below” to melos, the “right – left” to beat, and the
the daily work in music eurythmy. Following the thread “forwards – backwards” to rhythm. Musically one can char-
through the lectures, you perceive a path from the great to acterise each motif, each phrasing. In eurythmy, as a four-
the little. I will concentrate on this. fold human being, one can work and fashion differentiation
I would like to emphasise the essential steps, in order to within one’s eurythmical gestalt.
look at different applications. In lectures 1 and 2 of GA 283 As a fourth focus stands the question of fashioning musical
the human etheric body is described in relation to music: eurythmical space.
• The experience of breathing is found more in the head;
its correspondence in music is the melodic element. Halfway along the path, we have:
• The experience of breathing to pulse is found more in the • Qualities of the etheric element
rhythmic human being; in music the correspondence is • In-streaming and out-streaming
in the harmonic element. • the stream of time
• The experience of the pulse is found more in the limb • music-eurythmical space
human being; its correspondence in music is in the As a eurythmist, one can work with these steps on the vari-
rhythmical element. ous effects of a piece of music. At the end this process of prac-
The musical concepts describe the tendencies of an entire tice one know the piece. For the further three steps the euryth-
piece of music. mist is asked to be an interpreter. Decisions are now important.
With a sonata, for example, we find the first movement in
the “harmonic element”, the slow movement in the “melod- In lectures 5 and 6 the bases for choral eurythmy are laid.
ic element”, the third in the “rhythmical element”, and the Steiner differentiates three possibilities:
fourth movement puts once again one of the previous ele- • melody, motif
ments into the foreground. Translated into eurythmy one • harmony, the cadence
can work more out of the peripheral force of the “head” for • rhythmic relationships in polyphony
pieces of music developing the “melodic” element. Then for Musically, these are the three already mentioned “chap-
pieces of music that live especially in the “harmonic” ele- ters”. Relationships within a piece can be worked on. Which
ment, one works more with the alternation between centre criteria is most important? How does an idea metamor-
and periphery in the rhythmic human being. And for pieces phose throughout a piece? Eurythmically a spirit-presence
of music which are more at home in the “rhythmical” ele- is now demanded for one’s own instrumental fashioning,
ment, one works mainly out of the force of the centre of the for the piece, for the other eurythmists, for the music-eury-
limb human being. thmical space.
Here in the first place at the centre of consideration stands Fifthly, stands the question concerning the experience of
the question of the quality of movement of the etheric ele- the transitions between the eurythmists moving together.
ment. In lecture 7 differentiations in the realm of soul are made
In lecture 3 of GA 283, the interval of the third is mentioned in regard to
as the basis for the development of music for today. Accord- • major, streaming out, giving, “experience of the impulse
ingly, in lecture 1 GA 278, the basic contrast living in this is to deeds” and
presented: • minor, streaming in, receiving, “feeling”
• The experience of the major [stream] The human gestalt is described as the basis for the eury-
• The experience of the minor [stream] thmical carrying-out of the intervals and the significance of
Here is presented the basic breathing of “I” and astral body the collar-bone is emphasised for the embouchure of move-
to the etheric body and physical body. From the point of ment. In music, we are dealing with the detailed working-out
view of music, not only is the harmonic element meant, but of the inner content of the piece.
also the melodic and rhythmic elements, etc. Translated into Sixthly, the question of the differentiation in soul of the
eurythmy, this not only relates to entire pieces but also to embouchure of movement of the note and the interval is
sections of music: What is the quality of the streaming here? researched.
In the centre as a second focus, stands the question of the In lecture 8, the single note is described:
streaming in and streaming out. • pitch – Tonhöhe (mentally-imaged feeling)
In lectures 1 and 2 of GA 278 the triad is discussed in three • note-values – Tondauer (feeling feeling)
stages: • dynamics – Tonstärke (willing feeling)
• step With these three criteria, each musical sound is exactly
• movement defined. Also eurythmically, the demand is made to be com-
• formation pletely exact in the fashioning. Above all in contemporary
In this way an exemplary, basic musical phenomenon is music, with the turning towards the individual note, this
described for the triad: step helps one to get further.
 A R T I C L E S
15

As seventh step, the question of the presence of mind in the 4. In the middle school the work on the eurythmical instru-
single note is the focus. ment can be more exactly laid hold of. For this the pupil
The second half of this path is described: needs clear aims. There is a right and a wrong.
• the experience of the space between the eurythmists 5. When the young people become aware of each other,
• the differentiation of the movement embouchure in the then a step into choral eurythmy is possible. One’s own
soul movement can be passed on to another pupil, be taken
• the presence of mind in the work with the single note up by him/her and be taken further.
Musically speaking this is the path from what is between 6. In the upper school, the development of the soul has
the motifs, via what is between the intervals to that which is come so far that a differentiation of the embouchure of
between in the single note.With this we increasingly penetrate interval and movement is possible.
the motif. 7. In Classes/Grades 11 and 12 the possibility exists of con-
centrating on the nature of the individual note.
What does this mean for the methods of eurythmy? In this methodic structure developed by Rudolf Steiner, a
With three example, this path is described: gesture it contains of a path from the large to the small can be
Structure of a single lesson: experienced, and from there via the inner back into the outer.
1. How does one perceive one’s own ether-body? (becom- I hope that this account, alongside the well-known con-
ing aware of the qualities of movement) tents of both lecture-courses, draws attention to the
2. What is the relationship to the world? How does it methodic level for the path that Steiner describes in these
breathe? (becoming aware of one’s own basic breathing) lectures.
3. What musical unit can be embraced? (conscious euryth-
mical fashioning of one’s own time-stream)
– These questions name the aim of every opening exer-
cise! (e.g., fashioning the notes B-C-E)
4. How exactly can one get involved with what is inherent Eurythmy Stage Lighting: Lighting
in a piece? Design or Light-Eurythmy?
5. Am I open to experience the space between, in relation-
ship to the others? (being aware of the others) Thomas Sutter, CH-Arlesheim
6. How am I singing [in eurythmy] and the soul’s differen-
tiated fashioning? The technical possibilities of lighting have greatly increased
7. How far is one present in the detail and in the working since Rudolf Steiner’s time, not least with the introduction of
process? computers for programming and handling the lighting cues.
– All this is only possible when the eurythmical instru- Especially at a time when it seems that everything is techni-
ment is awoken and a piece of music is well known. cally possible, the planning of using these means are decid-
edly important. The style and expressive power of what is
Style of practice / Rehearsing a piece: presented in eurythmy on stage also finds its expression in
1. Through eurythmical movement, the piece of music is the lighting design, but at the same time one can also expe-
being initially questioned, where and how it stimulates the rience how the lighting affects the eurythmy. These elements
ether-body—which quality of movement is demanded? are increasingly used today, yet all too often this mutual rela-
2. The change between finding oneself and losing oneself tionship remains “in the dark”, in the subconscious, or to
is the next step. chance.
3. Then one studies the musical units, the phrasing. With the development of eurythmy on the stage of the
4. Only then can one approach the actual “learning of the carpentry workshop and on the stage of the First
text”, approach the work, the exact connections between Goetheanum, the first lighting indications came directly
melos, rhythm and beat. from Steiner’s hand. How did he use light and colour? A
5. For the eurythmical interpretation in choral eurythmy, source for this are the lighting indications published in the
the question is important: What is the most important books for speech eurythmy and music eurythmy: Beleuch-
musical element—what is the main thing upon which to tungs- und Kostümangaben... We also possess the advice of
concentrate? What is the basis of the forms in space? Ehrenfried Pfeiffer, who was given the task from Steiner to
6. Then the piece with all its details of fashioning, intervals develop a lighting rig for the First Goetheanum. From his
and notes, can be worked out. reports, we learn how at that time the usual lighting rigs
7. At the end, it is possible to penetrate into the inner were and the intention connected with them. Steiner’s
nature of the note, and increasingly of the motif. introductions before performances also give a direction
relating to the lighting. Steiner repeated mentions that we
The curriculum of the Waldorf School during the 12 years are not dealing with a lighting for eurythmy, but that
proceeds in the following path: everything should become a “light-eurythmy”. It is obvi-
1. The child in the lower classes lives as a unity in different ous that the laws of eurythmy and the basic elements also
qualities of movement and enjoys to be able to remain forms the basis of a light-eurythmy. Through this it too
within a piece during its duration. The choice of pieces becomes a kind of visible speech and visible singing. A
of music follows the aspects of the study of man. further basic presupposition for an understanding is
2. In Class/Grade 4 major-and-minor is experienced in its Goethe’s Theory of Colour, with a view of metamorphosis
contrast. and its further development through Rudolf Steiner
3. Musical units can now be dealt with (beginning, climax, end). towards the essence of colour.
 A R T I C L E S
16

Already in establishing a lighting rig in the First composition”, lighting is given for the bar lines. With speech
Goetheanum, Steiner went his own way. He begged Pfeiffer eurythmy it is not much different. It does not depend on the
not to ask the advice of theatre technicians, but to find his individual gestures but their sequence. With the light, we are
own solutions. How were the two cupola spaces lit? The not dealing with individual light-moods but with a light-
auditorium, the large cupola, was lit from a single light sequence according to musical-eurythmical laws. On the
source in the middle of the cupola. A light-source that comes stage there arises a visible speech, a kind of light-eurythmy,
out of the centre of a room has the effect that the sculptural according to Rudolf Steiner.
elements in that space come to the fore. The space is expe- Lighting arising directly out of eurythmical movement is
rienced as a space in its sensory-physical existence. an intensification. A movement of stretching produces light.
In the small cupola area, the stage area, it was quite dif- If this light is taken up through “lighting”, then we have a
ferent for a eurythmy performance. All the light came now movement which leads further into the eurythmical light-
from the periphery. Behind each of the 12 pillars a lighting colour space. Yet the “stage lighting” can also produce an
tower was placed that sent dispersed floodlight on to the opposite, retarding effect on the eurythmical movement. An
stage. For an exact description of this arrangement see Pfeif- example: Bach, Prelude in C major for flute. For the rising
fer’s accounts “Rudolf Steiner als Schöpfer einer neuen melody, the rising major stream, Steiner does not give a yel-
Beleuchtungskunst” and “Eurythmie-Beleuchtung” (GA low light space (as one might expect) but, as main colour,
291a, p. 378f.). blue. When the melody falls, the light-space becomes yellow.
A light illuminating from a centre emphasises the spatial One can practice for a long time and also find many possi-
aspect. Light from the periphery allows the physical space to ble and fitting explanations...
make ever less impression. From the point to the periphery, Yet Steiner did not “light” here according to mood in the
from space to counter-space, there is a transition. George normal sense, since this remains nearly the same through-
Adams describes in a wonderfully explicit manner how space out the piece, consequently there is no need for richly con-
and counter-space are related. In the former, the physical trasting changes of light. If we include the counter-stream
central forces at at work, and in the latter the etheric univer- and thus an etheric lawfulness, we can experience the flood-
sal forces. The space appears as though it were etheric space. ing of light in quite a different, new way. A wonderful expe-
Through this arrangement of lighting from the periph- rience can be gained by the performer on stage, as well as by
ery—which can be seen as the archetype of eurythmy light- the audience. It is much more refreshing and enlivening
ing—the lighting direction disappears. The light streams in when, in this case, the rising melody receives the blue light-
from all sides; a special direction of the light is no longer to surrounding.
be found. In physical, three-dimensional space, we are con- A wonderful detail in the eurythmical light is the use of
cerned with directions of light. How is it when we come to footlights. Often, through the footlight in addition to the
etheric space? In the etheric world, the third dimension fall main coloured lights, a contrast or counter-colour is added.
away, and thus also the physical, spatial effect of depth. Just In our example above, the lighting is above blue/ below yel-
this was achieved through the stage-lighting in the First low, and above yellow/ below blue. I would like to add that
Goetheanum. Physical space was made to disappear both the even-coloured space, with which Steiner was so con-
optically and as an experience. The stage-lighting here fol- cerned, produced through the light from the side, or with the
lowed the laws of etheric space; here colour receives a new stage in the Carpenters’ Workshop, is not destroyed by the
meaning. What Steiner advises for painting is also valid here. footlights. The space-dissolving effect and the two-dimen-
If a strongly coloured light-space comes about, then out of sional nature of etheric space remains intact, is even
the perspective of space new colour perspectives will arise. increased, through this lightly tingeing contrast-lighting.
The colour perspective in changing light is more alive and Becoming aware in the search for the etheric laws, the
more dynamic, close to the nature of eurythmy—red lighting indications are revealed in a new and wonderful
approaches us, blue retreats from us. Such colour sequences way. And so it is understandable that e.g., Chopin’s Nocturne,
are frequently found in Steiner (c.f., lighting indications for op. 9 no. 1 is not lit according to the naturalistic mood of
Nietzsche “Throw your weight into the depths”). green and violet, but through the image-colours yellow – red
Eurythmy as an art of time lives in time’s stream. It makes – blue in a strong sequence of changes. The etheric taken as
sense if that which surrounds eurythmy as light takes up the the complementary of the physical leads to an understand-
laws of the stream of time. You find in Steiner’s lighting indi- ing of such colour-indications. In our example (Chopin’s
cations how light-eurythmy develops out of the time ele- Nocturne), if lit according to the mood, the image colours
ment, the musical element. would be green and violet as they appear in the physical
The essential thing for Steiner is the change of lighting. world. The indication, however, is (complementary) yellow
This is the moment where change, life, comes about, com- and red. To the art of eurythmy, a light eurythmy is practised
parable to the intervals in music. The future streams into the according to the etheric laws of colour.
present. The light moods arising out of this musical flow are In The Mission of the Archangel Michael, lecture 6, Steiner
of secondary importance. They are movement come to rest. points out how today we are to make a transition from the
The lighting sequence should be so mutually attuned as are breathing of air to the breathing of light. The new yoga path
the notes of a melody. The lighting, becoming in this way a is concerned with the new breathing of light and colour. The
light-eurythmy, is melodious. spirituality which was earlier present in the air, lives today in
In music eurythmy, visible singing, the lighting of Steiner’s the light. We are dealing with light-soul processes. The eury-
indications arise directly out of the musical element. The thmist on the stage becomes a breather of colour and light.
floods of colour often follow the pitch, work with the rhythm, In the introduction to the last performance in the First
or even with individual note-values. With “Schumann’s last Goetheanum, Steiner says how the figures doing eurythmy
 A R T I C L E S
17

would draw in, breathe in, the light-bodies, the light-areas, The “Lichteurythmie-Ensemble” produces performances in
as if moving towards them, as if they were in need of them. a stage-space painted with plant pigments by Elisa Dudin-
The above presentation clearly shows what a central role sky and peripheral lighting. The Ensemble also gives demon-
light has for eurythmy. It also clearly shows that light-eury- strations, courses and seminars on light eurythmy, Rudolf
thmy has nothing to do with theatre lighting. To enter into Steiner’s impulse for lighting.
comparison and discussion is not in place if one wants to
work out of the essence of the subject. ——————————
A light-space appropriate for eurythmy arises out of eury- George Adams. Etheric Space. RSP London.
thmy itself. It was for Steiner extremely important that to Rudolf Steiner. The Mission of the Archangel Michael. 12 lec-
eurythmy nothing strange to be be added from outside, but tures, Dornach, 21st November – 15th December 1919. GA 194.
that everything is taken hold out of eurythmy. The circum- Rudolf Steiner. Beleuchtungs- und Kostümangaben für die
ference of light does retroactively influence and change eury- Laut-Eurythmie. Band I– IV. Ed. Eva Froböse. Rudolf Stein-
thmy itself. A process arises, which takes place slightly out- er Nachlassverwaltung, Dornach 1980.
side consciousness. Steiner also pointed out this danger that Rudolf Steiner. Beleuchtungs- und Kostümangaben für die
the effects of pure effect of light works right into the physical Toneurythmie. Ed. Eva Froböse. Rudolf Steiner Verlag,
body, without the activity of the “I”. Steiner attributed great Dornach 1975.
significance to the quality of light. With Pfeiffer he developed Rudolf Steiner, Eurythmie – Die Offenbarung der sprechen-
a light source, that works in precisely the opposite way to a den Seele. Introductions to eurythmy performances 1918
spotlight. The light did not become concentrated through – 1924. GA 277. 1972 (ET in preparation).
lenses or concave mirrors on to the stage, but through a con- Rudolf Steiner. Farbenerkenntnis. Supplement to Das Wesen
vex surface, softly radiant, similar to the inner character of der Farben. GA 291a.
the sunlight as we can experience it around Michaelmas.

My attempts and concerns

In order to achieve etheric effects, I work with plant-dyed Concept of the ‘etheric‘ in Creative Speech
stage curtains. An important phenomenon with this are the
coloured counter-images arising in such stage spaces. With Christopher Garvey, Peredur Centre for the Arts, UK
chemically-dyed curtains this problem hardly arises. A green
eurythmy dress produces a strong carmine-red after image, Fundamentally, the etheric nature of speech is founded in
arising around the moving eurythmic figure. The physical rhythm; the rhythm of the heart and the lungs. Rhythm is the
sensory process subsides, and the vital force of the ether-body breath of life. The hexameter is the rhythm which exempli-
of the onlooker produces this non-sensory phenomenon. fies this. Every word spoken has a rhythmic life-process cre-
If you also give the perceiving audience the chance in this ated by the marriage of vowel and consonant in the single
way actively to co-create, then there arises refreshment, unit of the syllable. The etheric is perceived in speech as the
nourishing and even healing effects. The lighting-set syllabic movement is perceived—the syllabic movement is
becomes an instrument of light-eurythmy. It only becomes the form the etheric takes in becoming audible. If this rhyth-
comparable to a musical instrument when one works with- mic element is brought out, the effect on the audience is of
out pre-programmed light-settings. Each performance is a a specifically felt mood being created. The heart is touched—
new creation; each change, however complicated is carried the feeling life. There is a danger, however, that if this ether-
out “by hand”, that means, live. This of course only makes ic quality preponderates—the two other main aspects of the
sense when one dives afresh into the living stream of time of soul are left out—the mind and the will. Speech then
eurythmy, and it demands practising with eurythmists. Pre- becomes incomprehensible to the listener.
cisely in this awake and sensitive becoming for the transition To counterbalance this, it is important to discover how the
lies the decisive thing; here is change and new creation in a etheric can mimic a conceptual form and an imaginative
free taking up of cosmic laws. gesture. For instance, in beautifully spoken prose the phras-
The light of the sun is flooding ing enables the flow to be broken and restarted. This phrase
The realms of space; has rhythm within it, but this is let go of (loslassen) and then
The song of birds resounds gripped anew (neuer Griff). The rhythm going through a
Through fields of air; change in between the two phrases. To the extent the phras-
The tender plants spring forth es are made distinct from each other, the mood is broken but
From Mother Earth the specific thought content receives form. This is the basis
And human souls rise up of healthy naturalistic speech.
With grateful hearts If this ‘natural‘ speech is observed it is found that the syl-
To all the spirits of the world. labic movement is rising, falling or staying the same. The
(R. Steiner. The Portal of Initiation. speaker now discovers that the rhythm is always making
From the Prelude. Tr. R & H Pusch.) music. In this way the music reveals the meaning.
Meaning is revealed artistically through the musical ele-
Contact: ment. In the mystery dramas, Astrid is the character who
Lichteurythmie-Ensemble exemplifies this ability. There is a grave danger here of musical
Thomas Sutter, Dorfgasse 2, CH-4144 Arlesheim intonations being used arbitrarily by entering the prose con-
Tel. +41-61-703 94 17, Fax +41-61-703 94 18 tent, however, and noticing the shadow of the musical move-
www.lichteurythmie.ch / [email protected] ment within it, the musical element is objectified. The test of
 A R T I C L E S
18

this is whether the listener has been helped to understand summer. Then I will rehearse a piece with you. Then during
more fully by a true music or is being led astray by a false music. the course of your next season take part in eight to ten fur-
The relationship of the will to the etheric comes to expres- ther productions in this spirit. In two years, building on your
sion in the building of images. Here it is particularly the for- own experience, we can together bring about a further pro-
mative quality of the consonants that bring the images to duction; in this way a new rehearsal and performance cul-
birth. The consonant is gesture, bearing etheric movement. ture could gradually be formed.”
The syllables join together to make word gestures, the words When the Haass-Berkow-Troupe came again in summer
make phrase gestures, the phrases make sentence gestures. 1925, Rudolf Steiner had died. Marie Steiner carried out a
Whenever there is an experience of gesture the etheric is pre- purely formed-speech work with them all, including choral
sent. When speech has become moved gesture, speech has work and individual roles from Schiller’s Bride from Messina.
become an art. The character of Luna in the mystery plays This was reported to me by my father, who took part as a new
exemplifies this capacity on the spiritual level. member of the Troupe and had to speak the part of Don
One last word, I have often found speakers and euryth- Manuel. Most of the participants then formed the core of the
mists frightened if they enter the world of passions and emo- Speech and Acting Ensemble at the Goetheanum, led by
tions because ‘everything just becomes astral‘. lt can be the Marie Steiner.
greatest joy to go into these passions with all one‘s energy— In September 1924, Marie Steiner had invited two actress-
through the formative element of sound—the etheric or es and three actors, in order to start with them a formed-
form of the astral quality is arrived at and the soul is in no speech and stage-work at the Goetheanum, whose rebuild-
way tattered or torn but on the contrary invigorated. ing after the fire of the First Building began in the autumn.
lt is within the passions that the engine room of art lies. One of the five personalities was my later teacher at the
Through the etheric nature of sound and its movement the Eurythmeum led by Else Klink, Otto Wiemer, director and
deadly astral element is relieved of its negative sting and actor; his contribution was instrumental that the Speech and
becomes a revealer and healer. Drama lecture-course came about at all. What he told me, I
wrote down directly after our conversation: In one of the first
rehearsals with Frau Dr Steiner, he said: “What I can now
work with you is recitation and declamation. What concerns
Author’s article: An introduction to the the other indications of Dr Steiner, about directing and so
launch of this work-book on, in the lecture-course Speech and Drama, these are so few
that really to enter into these things we will have to wait until
at the Goetheanum, Sunday, 27th Nov. 05, 11 am
Dr Steiner himself is here once again.”
Wege des Sprachgenius: Die Grundelemente der Sprachgestal- Marie Steiner held to this throughout her unique work.
tung und Schauspielkunst nach Rudolf Steiner in ihrem She worked everything out of the element of speech, or the
methodischen Aufbau (Vol. 1); Literary examples (Vol. 2) poetry. She never practised the threefold path of schooling
of the Speech and Drama lectures in her rehearsals. What she
Wilfried Hammacher, DE-Stuttgart had to give from the lonely heights of her genius and her
abilities, was only to be brought into stage-reality through
Rudolf Steiner ended his lecture-course Speech and Drama partly, also through a brilliant talent of imitation. Imitation
(GA 262; held in its entirety with Marie Steiner) on 23rd Sep- of the imitation could then of course not keep the primal
tember 1924 in the morning; at the end he added the fol- originality alive, or even make a tradition. So the course of
lowing words: events leads back again to the threefold path of schooling: it
…, we intend this lecture-course to be taken as a begin- can be followed by everyone “everyone in their own way” as
ning, by everyone in their own way, and it will indeed a “work” which can be understood as a seed of a “future civil-
become that which it should become when we take it isation”.
precisely as Act One and to its exposition attempt in What was intended? Straight away in lectures 1 and 2 of
working to find the ensuing Acts. If we work in this direc- Speech and Drama, Rudolf Steiner points to a scene from
tion together in the most varying realms of life and espe- Scene 7 in his drama The Portal of Initiation. Maria and the
cially in our dear art, then already in seed form there will three Soul-Forces stand at the beginning of his whole pre-
be founded something demanded by the future of civili- sentation: The “I” faces its three soul-forces as three inde-
sation already in the present day…” (GA 282, Tr. A.S.; the pendent beings. The “I” has to steer them and bring them
pub. ET. p. 406 is a condensed paraphrase). into harmony. In the C20th humankind has crossed the
The three phrases on orientation, here italicised, seem to threshold to the spiritual world; whether consciously or sub-
indicate a direction. In the afternoon, a discussion took consciously, this reality lives in all our souls and demands a
place in the Carpenters’ Workshop between Rudolf and new way of living with ourselves and with the world.
Marie Steiner on the one hand and the director Gottfried In lecture 5 of Speech and Drama Rudolf Steiner suggests
Haass-Berkow and his troupe of actors on the other side (GA that each poem be initially changed into prose so that speak-
260a, p. 655). The main content of the conversation was er and actor can change back the thought-content into the
reported to me by an actor of the Troupe, Hans Schmidt, who feelings, into a primal experience.
later for many years played Felix Balde under Marie Steiner’s In lecture 9, we read that mime and gesture should be
direction, and was editor of the “Rudolf Steiner’s lecturing found by themselves lived through and formed to the recita-
work”. To the question, how the abundance of suggestions of tion of a second speaker; that is, silently, only given up to the
the lecture-course could be put into practice, Rudolf Stein- gesture born of the will.
er answered in essence somewhat like this: “Come back next In speech and its poetical qualities as such one should
 A R T I C L E S
19

enter “listening for a silent speech” (lecture 19), so that out The genius of speech has fashioned out of our three bod-
of a “listening in understanding” of the thought, as it daily ily members the three qualities of our speaking: out of the
takes place, an “understanding in hearing” of the speech- physical body, imitation; out of the ether-body, the world of
sound and its Imagination can develop (lecture 6). pictures; out of the astral body, the music of feeling.
When each of these basic elements—experience, gesture, The three bodily members arise during the three planetary
speech (or thinking, will and feeling)—have been practised bodies preceding our earth. The physical body on Ancient
for a while each for itself—parallel or sequentially—the Saturn, the ether-body on Ancient Sun, the astral body on
practitioner brings them together. The gesture sparked off Ancient Moon; and the “I” on the Earth. Ancient Saturn
through the experience penetrates the speech; or as Rudolf reflects its spheric environment back and the creative Spir-
Steiner in lecture 2 summarises it as a meditation: “In speak- its active in it. Shakespeare’s Hamlet sees thus the point of
ing the human being, who disappeared in the gesture, is res- acting in “to hold as it were the mirror before nature”. On
urrected.” Ancient Sun the ether-body was fashioned to the moving
Whoever has experienced many times to practise the three form of the alphabet of our language. On Ancient Moon we
soul-activities of the three basic elements at first separately received the floods of the ability to feel and experience; on
and then let them stream into each other, can experience the Earth the “I” which has to use the other three members.
how the most objective element unites with the most indi- The consciousness of our own soul is thin, like a shadow
vidual, without compulsion and yet according to a lawful- that has become powerless. We can enliven it through Spir-
ness, as it always is in nature. The experience is related to it-recollection of cosmology, bringing it into movement. The
what Rudolf Steiner describes for the life of cognition and threefold path of schooling demands in every moment
the moral life in his Philosophy of Freedom. In way the “I” can intensive Spirit-mindfulness. And whoever penetrates into
go quite individually along the completely objective paths of the sphere of poesy, approaches Spirit-beholding in dream,
the genius of speech, Rudolf Steiner would have shown in full of fantasy, imagining ever more objectively.
the planned productions of the Haass-Berkow-Truppe in a Rudolf Steiner’s work with formed speech and the art of
manner only possible for him. Destiny has taken this possi- acting fell in the decade, in which the leading forces of the
bility from us. My work-book intends to offer some help for reformation of the theatre and its speech were active, and are
those seeking this path. still active. For Stanislavsky, who like no-one before him was
It would make sense to place the path of practice before the his whole life always travelling, to develop a consciousness
soul in a diagram with cosmic terms from the study-of-man. of the basic elements of the art of acting was the core of his
search for the authenticity of experience; how gesture and
speech can arise out of a genuine, true feeling. This led him
back into himself, into the subjectivity of the “emotional
memory”. Strasberg has pursued this path with still stronger
methods. Artaud, on the other hand, did not want to
acknowledge any intellectual experience and intellectually-
fashioned speech-forms, and with his Theatre-of-Horror
theory, he built completely out of the elemental gesture of
the will-sphere, on the “Double”. Brecht is the genius of an
unfathomable speech-imagination, yet of a speech whose
pictures lead back to a clear, understanding consciousness.
Chekov, who amongst these figures was the towering genius
of acting, sought the roles in an objective, pictorial imagina-
tion. Everything of a mimic and gesture acting—be the con-
tent ever so brutal, or horrific—is to remain always light,
always remaining the world of appearances. He discovered
the spirit of speech through Rudolf Steiner in eurythmy; on
this spirit he built his technique, today widely misrepre-
sented.
All reformers of the theatre follow the thought-out aims of
a certain style. Not with Rudolf Steiner; he showed to the
[modern] consciousness the entire range of technique and
left to the individual to fashion what he was seeking and
what his abilities allowed. Yet the craft remains with him, and
is not reduced to a psychological-physiological level; it rests
on the “understanding of the divine-cosmic [presence] in
speech, gesture and stage-creation” (see Rudolf Steiner. GA
262, Germ. ed., p. 257f.).
The threefold path, when it succeeds, breaks through the An impressive confirmation of this, and as it is developed
prosaic matter-bound consciousness and makes the poetic in my book, is to be found in a letter, which only came into
consciousness a mirror of the spiritual world. The physical my hands again recently, from Gottfried Husemann, the first
world is always a picture of the spiritual world of the Creator. leader for many years of the Priest Seminary of The Christ-
But only the quality of will in a poetic fashioning of speech ian Community in Stuttgart. He wrote to me following a lec-
can ignite the picture into a mirror. ture on formed speech which he held in a Conference for
 A R T I C L E S
20

Speech Artists, Easter 1964, at the Goetheanum. We were all In the lecture-course on music eurythmy, Hauer is appre-
deeply impressed by his knowledge of the subject which ciated as no other personality. Alongside the fact that the dis-
went right into the details, and its spiritual expansion. cussion on him takes up a relatively large space (lecture 5),
Gottfried Husemann wrote to me on 14th April 1964, he stands connected, I would say, to many other statements
amongst other things: “On my return, I had a conversation within the lecture-course, even when this is not directly
with Ida Rüchardt [one of our great reciters, at home in more mentioned, for example, with the contrast of the melodic
than twelve languages—W. H.]. I said: “This Speech and Dra- and chordal elements (time and space in music, or life and
ma lecture-course—naturally, you know this off by heart? All death), with the TAO-meditation and with the concept of
the details?” Ida Rüchardt (summarily, inwardly raging): melos, as used by Steiner in these lectures. According to my
“No.” In the Society Newsletter, she reported that Frau Dr conviction, Steiner’s concept of melos leads back to his study
Steiner “did not include” this lecture-course. The report is of Hauer. The concepts of melody and pitch are connected
classic, short, pithy, artistic—and hides the essential thing. with the concept of melos.
The essential thing, as far as I can see, is this: The school- I would like to devote this essay to differentiate these three
ing given by Dr Steiner (in formed speech, etc.) rests on concept, and to the question of the nature of melos. In my
autonomy. Initially it depends on teachers, who, however, view, Steiner does not use the terms “pitch”, “melody” and
have so to conceive their work, that from the beginning the “melos” (Tonhöhe, Melodie, Melos) as synonyms. Behind
pupils are referred to their own experience. The schooling these words stand three different, though related, concepts
has completely to become objective, free from teachers, for of a spiritual content.
so is it established, right into the details. A path of schooling In these lectures Steiner does not expressly define what
has to exist, not only lessons in formed speech. From the exactly these concepts mean for him, and how they are to be
beginning, the pupil is referred to his/her own experience: differentiated. So, one is led to study the connections in
(a) the organs of speech, (b) as the seat of the activity of the which he uses them, in order to gain access to the individual
speech-sounds, the regions of the body connected to them, concepts. Indications especially of his differentiation of
(c) to the original activity working in everything, of the melody and melos can be found in the notebook entries [NB
sounds of speech themselves; (d) then comes the experience 494] to GA 278. I shall return to this.
of the specific things in the individual exercises, then of poet- There are also disadvantages when trying mutually to dif-
ry, and so on. They lead into the cosmos (planets and fixed ferentiate the concepts of melos, melody and pitch. These
stars), i.e., control of the ether-body through the astral body. concepts, as will be shown, are indeed related. If one keeps
This schooling, just like that of the priest, leads then to the them strictly apart, then one is in danger of losing this rela-
actual esoteric schooling, whose real beginning has already tionship. They should rather be taken in the sense of three
been made. Imitating the teacher has its good side, but it has moments in a movement rather than as three separate
to be balanced with your own experience and forming your things.
own control. Then the field also becomes clear for the other
things which are given in the lecture-course. What do we mean by melody?
In Gottfried Husemann’s lecture on 4th April, 1964, I find Something that can be sung, something singable, con-
in my sketchy notes these sentences: “Controlling the ether- nected to the singing human being. The word “unmelodic”
body (the life of the organs) through the astral body (con- is frequently used in the same sense as “unsingable”. We can
sciousness) is the penetration to the power of forming establish that melody has to do with the human being
speech... and thereby into the kingdom of Christ. We have to expressing himself in singing. This is obvious with the
become conscious of the might and confidence of our melodies of songs and of vowels, less clear with instrumen-
Impulse. Consciousness has to expand....” tal melodies which are not always so connected to the
breath. Yet we always speak of an instrumentalist playing
melodically when trying to make his instrument “sing”.
What do we find when we investigate a melody according
to the musical elements it contains? A structure composed
The Concept of Melos of various notes. A melody embraces notes of various pitch-
in J.M. Hauer and R. Steiner es. It contains notes of various lengths, i.e., rhythm. One can
sing a melody in such a way that the notes are stressed in dif-
Johannes Greiner, CH-Dornach ferent ways, i.e., that the beat is expressed. This can also be
omitted. You can sing all the notes with the same emphasis
The sympathetic manner in which Rudolf Steiner appeals without a great loss (though it will sound somewhat boring).
to the participants of the lecture-course on music eurythmy Does the beat, then, not necessarily belong to melody? If you
(Eurythmy as Visible Singing. GA 278) to study the musician, emphasise the beat wrongly, then disturbing impressions
composer and writer on music Josef Matthias HAUER arise, as though the “sense” of the melody is turned about,
(1883–1959), has in my eyes the character of a testament. changed. The beat greatly influences the character of a
The same applies, when Steiner points anthroposophical melody, but does not belong so necessarily to it as does the
musicians to Hauer as a “teacher” (see: Das Goetheanum, rhythm. A very important element is the division of the
Wochenschrift für Anthroposophie und Dreigliederung, 10th motifs. In singing melodies, the motifs are often connected
Dec. 1933). What should Hauer’s mental world and attitude to the words. A division in great sweeps comes about
to music-making mean for eurythmists and musicians? For through the span of the breath. One cannot forbid a person
what did Steiner hope in this connection? Is this testament who plays a chordal instrument, like the piano or accordion,
taken sufficiently seriously and made fruitful? also for hearing harmony in melody. We speak of ‘implied
 A R T I C L E S
21

harmony’ with a melody. Dynamics, too, can be part of a “the course of pitch”. Then one keeps in view what arises
melody. through the playing together of many notes.
So, astonishingly many elements can be experienced as The singular force which can be experienced inhabiting
belonging to melody. Nevertheless, in hearing melody, one “pitch” may appear unattractive and yet the concept of pitch
can feel a unity. The individual elements in it do not appear is especially helpful. What can be expressed through it—the
as such, but as parts of a whole. In summing up, we can say cause, or the movement of pure pitch without rhythm, etc.—
that a melody contains notes of various pitch, it embraces cannot be expressed through another concept, e.g. that of
rhythm, it can embrace dynamics, division into motifs, beat, melody.
implicit harmony and other things. The various musical ele- The following is also connected with the tendency of pitch
ments it includes form a unity. In it, the individual parts to turn towards the individual note: the musical element
become members of an organism. The melody is not the unfolds, as we know, in time, in contrast, for example, to the
sum of the parts that can be extracted from it, but that which plastic, sculptural element having space as its realm of activ-
binds the individual details into a unity. In his book Grund- ity. Now, the concept of pitch (Tonhöhe—‘tone-height’) actu-
lages des linearen Kontrapunktes, Ernst Kurth writes: “The ally belongs to space. Höhe—‘height’, Tiefe—‘depth’ are spa-
melodic element is not a collection of notes, but a primal tial concepts. If one speaks of the ‘height’ of a note, one is
connection, out of which the notes are released.” looking spatially at the musical element. One then loses the
Melody, then, is a form in which various forces work sequence in time of the notes, which is still contained in the
together. Pitch is perhaps the most prominent, yet not the concept of the melodic element, arriving finally at the single
only thing. note that can be found at a certain ‘height’ of ‘tonal space’.
Is there such a thing as pure pitch, i e., pitch free from oth- The mutual relationship of the notes in the sequence of
er musical elements like rhythm, harmony, etc.? No. Every- time falls within the realm of rhythm, which is precisely not
thing that is audible extends itself in time. That audible contained in pitch. So, what gives strength to the concept of
events take lace in time, the course of time receives differ- pitch, so that, with this strength, pitch can be described with-
entiation. What is audible is always connected to that force out rhythm, is at the same time the place where its weakness
which fashions and forms the course of time. Time does not lies. This is the danger of losing the musical connection
only arrange a sequence of notes, but also an individual between the notes, the specific element of time as the essen-
note. It has a beginning and an end. This force, that organis- tial phenomenon of the musical element when it manifests.
es time, can be taken as rhythm in the widest sense. (The Now to melos. What is melos, and how is it connected to
word “rhythm”, which derives from the Greek, can be trans- melody? The word comes from the Greek. Its meaning
lated by “Zeitmass—measure of time; tempo”.) We recognise changed in the ancient world. A basic event was responsible,
rhythm the moment it forms something in time “rhythmi- marking the development of the whole Greek culture.
1
cally”. Yet in each structure of time the beginnings of rhyth- Between 700 and 200 B.C. the relationship of music to speech
mical effects are shown, even when the structure does not underwent a great transformation. Prior to this speech,
attain something rhythmical in the narrow sense (that which music and movement (the dance) formed a unity. Then they
repeats in similar patterns) . began to emancipate themselves and become three
Consequently, no note or sequence of notes exists without autonomous realms. This also affected the understanding of
at least a glimpse of the effect of rhythm. So, in the world of melos. For Plato, melos was still a musical force connected
appearances, no pure pitch exists! to and at work in speech. With his pupil Aristotle, melos
One arrives at a concept of pitch only through a process of tended more towards melody, towards the musical element
abstraction (this is not meant negatively). One has to that is distinguished from speech. If we look even further
abstract an aspect of the melodic element, lift it out of the back to the C8th B.C., we find in Homer a completely differ-
variety of appearances and look at it separately, although ent concept of melos: For him melos was still experienced as
this separation does not exist in the world of appearances. an object. He uses it in the sense of a “member” (also “limb”),
This is an important characteristic of the concept of pitch “body” (see e.g., Iliad 7, 130f.). Around the fifth century B.C.
and a decisive difference between melody and pitch. Melody lyrical poetry and lyrical songs were called ‘melos’ or ‘mele’
always points to an abundance, but also to something con- (see e.g., Pindar, 9th Olympic Ode). Such changes in percep-
crete. The abundance is in musical elements, which in them- tion, connected with the changes of man in relation to music
selves can be taken as a unity; the concrete element is its in the course of history, make it difficult to acquire the con-
relationship with what is singable, to the expression of the tent of the concept of melos out of the views of the ancient
soul in the physical world. Pitch describes a single element world. Nevertheless, there is a possibility of translating the
of the musical phenomena, pointing towards a world into Greek ‘melos’ that can help us further to build a bridge to our
which entrance is found through abstraction. time, to Steiner’s concept of melos: Melody is that which is
A force of division, of individualising, has divided pitch sung, the melos brought to sound (Neues Handbuch der
from melody. This force works on in the concept. The concept Musikwissenschaft Bk. 1. P. 266). Melos consequently is that
“pitch” always tends to go from the abundance of notes to a which does not sound in the sensory realm, but the melody
single note, from the shifting pitch between the individual experienced inwardly (in soul and spirit).
notes to the “absolute” pitch of the individual note. This indi- Around 1920 Josef Matthias HAUER (1883–1959) “re-
vidualising force in this concept has reached its aim and goal awoke” the concept of melos. When Rudolf Steiner in Feb-
when it can say: this individual note is pitched at 430 Hertz. ruary 1924 held the lecture-course on music eurythmy, he
If one wants to keep the force of melody that connects had already studied Hauer. It appears to me best to look first
individual notes within the concept of pitch, then one at Hauer’s concept of melos, and then to see how far it cor-
should perhaps use the expression “movement of pitch” or responds with what Steiner calls melos.
 A R T I C L E S
22

At the beginning of his monograph Vom Wesen des “Everything is contained in the interval, as the purely
Musikalischen, Hauer contrasts melody and the note: “We musical element.” “The essence of the interval is movement.
orientate ourselves in the understanding of the musical ele- The interval is a gesture.” “The interval is a spiritual move-
ment on two facts: to the melody, as it is spiritually given in a ment (movement of the spirit) …” (J. M. Hauer, Das Wesen
musical human being, and to the note, as it is physically pro- des Musikalischen, p. 17).
duced by any instrument. Between the note and the melody In his book Vom Wesen des Musikalischen, Hauer attempts
in the human being, there exists a reciprocal effect of tremen- to show how this archetypal force of the musical element,
dous force and lawfulness. This reciprocal effect works in two the interval, is active in the most varying realms of music. So,
directions. On the one hand, for example, a human being for example, he sees the reason why a physically-produced
wanting to express in himself a musical occurrence (wants to note can be at all a part of the musical element, in the fact
communicate it to somebody) chooses a certain sequence of that the musical note physically perceived is a conglomerate
notes. On the other hand, another human being hears this chord, i.e., produced out of several notes (partials, or, fun-
sequence of notes and the same or a similar occurrence is damental and overtones). Between these various [weaker]
awakened in him” (p. 5). Consequently, he differentiates what notes forming an audible note, the interval-element can be
is spiritually given in the human being, the melody, what is active. The effect of the interval is the prerequisite that some-
physically produced, the note. thing can belong to the musical realm.
Is it possible to produce a melody, as Hauer suggests, in a From the above quotations on the interval, it transpires
non-physical manner? Actually not. Melody does not only that Hauer sees the actual essence of the interval as move-
contain a sequence of notes, but that which connects the ment. He tries to feel this movement, which he characteris-
notes, what lives between the notes. Ernst Kurth (Grundla- es as spiritual. Through this, he lays hold of the actual con-
gen des linearen Kontrapunktes) writes: cept of melos. In his writings Deutung des Melos and Vom
Melody is movement. It is erroneous to emphasise as the Melos zur Pauke that follow Das Wesen des Musikalischen, he
most essential and the actual significant moments of the describes what for him melos is, and how it is connected to
music only the acoustic phenomena, that which sounds, melody.
and the notes themselves with all their latent harmonic Melos is “movement itself in its primal form, …” (Deutung
relationships, without paying attention to the connections des Melos, p. 10). “We call melos the musical experience and
in feeling with an occurrence of force between the notes occurrence, the tension between the notes of different
(...) The basic content of the melodic element, in the psy- height [pitch], though certainly the occurrence and the ten-
chological sense, is not a sequence of notes but the sion occur in us. Melos is an absolute spiritual, musical
moment of transition between the notes and beyond them. process in the human being” (Vom Melos zur Pauke, p. 9).
What connects the notes is the spiritual element active in “In the realisation, the making clear and intensification of
the human being, which certainly is stimulated through the melos into melody, the connection to the sensory world is
physically produced notes, but which does not stem from established which just through this receives its ‘sense’” (Deu-
the world to which these notes belong. Goethe puts it: “The tung des Melos, p. 15). “Melos is the purely spiritual element,
supersensory music produces the music in the sensory rhythm already approaches the material element” (Deutung
note.” With Hauer, we can say that the human being is able des Melos, p. 41). “Melody is the happy fusion of rhythm with
to listen for the spiritual element, the melody, the “super- the element of melos” (Vom Melos zur Pauke, p. 8).
sensory music, in the physically-produced notes”. Melos, then, is an “absolute spiritual process in the musi-
The power able to form a melody out of single notes can cal human being. This occurrence can realise, make clear,
simply be called the musical element. “The musical element and intensify towards sensory appearance. Thereby, the
in the human being is not an individual sound, a note, but “purely spiritual”, the melos, is connected with rhythm that
melody” (J. M. Hauer, Vom Wesen des Musikalischen, p. 9). “already approaches the material element” and becomes
Melody is an assembled form. The actual spirit of melody melody. Melody contains rhythm; melos does not yet. It
is the melodic power able to connect the individual notes. It exists before all the “realisation, making clear, and intensifi-
takes up in itself, as it were, the individual, physically pro- cation”.
duced notes. They then form its body in the sensory, audible Speaking pictorially, Hauer began with the broad stream
world. Yet it also always includes rhythm, through which it of the musical element, in which all sorts of “dirt” and “flot-
gains its form in the flow of time. sam and jetsam” flows along, and he moved upstream. Here
Consequently, one can view melody as an entity that has the stream becomes ever clearer, but with regard to its
its origin in the spirit, but is incorporated right into the sen- expansion in the physical world, also becomes narrower. He
sory-perceptible world. Stages on this path of incarnation reached melody, that brook already containing other brooks,
are the surrounding-itself with rhythm, and the connecting then to the interval, and fianlly to the source. This source,
with the notes in such a way that they are lifted out of their unlike the source of a river, does not lie in the world of
isolation. appearances The path to the source was also at the same
Hauer attempted to reverse this path of incarnation of the time a path out of the physical into the spiritual; musically
musical element, to return in order finally to find the “pure- speaking, from the physically-sounding note to melos.
ly musical element” which is still “unstained” by anything For us it is important to establish that Hauer reached the
earthly. The path leads him from the melody to the interval. concept of melos through a deepening of that concept. (In
Indeed, the interval is that which lies between the notes, Das Wesen des Musikalischen, Hauer does not speak of melos
which connects the note , thus forming the basis of every in his later meaning, but what he says of melody, of the
melodic creation. The ‘building blocks of a melody, per- melodic element, coincides—in so far as he relates not to the
ceived musically, are not the notes but the intervals. forms of melody but to the force working in it—with what he
 A R T I C L E S
23

says of melos in the ensuing monograph Deutung des Melos.) ion that the production of a note or chord is nothing
The concepts of melody and melos will never be complete- more than an appeal to the emotions or the senses—
ly separable. They flow into each other. If melos enters the merely a means to express externally the inaudible
world of appearances, it clothes itself with rhythm and melos, which presents the inmost life of the human soul.
becomes melody. It is one entity, which in its purely spiritu- If we would compare Hauer’s concept of melos with that
al condition, so to speak its primal form, is called melos, and, of Steiner, we stand facing the problem mentioned at the
when it has begun its path of incarnation, is called melody. outset. In his lectures Steiner never rigourously separates the
In his work Atonalität und Elektronik, Friedrich three concepts of melos, melody and pitch. A common ele-
Oberkogler puts it well. “Melos and melody behave as eter- ment does live in them, that is demonstrated in a flowing
nal being and temporal existence. Melody, the synthesis of transition from the one to the other in the use of language.
melos and rhythm, is the unfolding of the timeless within The Notebook [NB494] to the lecture course GA 278, e.g.,
time.” “Melody becomes melos” (p. 9), shows that he can differen-
Melody belongs to temporal existence, it is something tiate it for itself.
formed, a form. Melos is not a form, but something forming. In this Notebook, one entry is found that wonderfully con-
This is also shown in the use of language. One can say, “This firms and supplements what we have found in Hauer on
is a melody”, but one cannot say, “That is a melos.” Melos melos. One can see in it a central contribution of Steiner’s for
does not appear in such a way that one can speak of it as understanding the musical element, which he relates to the
something that has become. Melos is movement and mov- essence of the human being, with his constitution. This was
ing. One can point towards the activity of melos, not towards possible for him because for that part of the human being
it as a thing. Melos does something. What and where it which does not appear in the sensory world he formed clear,
makes its effect can be found in the world of what has significant concepts (etheric body, astral body, etc.). As long
become, not melos itself. Melos is at work in the melodic ele- as one only considers the physical body, one stands musi-
ment. Melody, through melos working in it, is able to take up cally speaking on the level of the single, physically-produced
the individual notes. The force that makes the individual notes, that is, according to Hauer, not at all in the musical
notes into a melody is melos. Melos is as it were the form of realm. In GA 278, lecture 3, Steiner says: “Just as the human
activity of melody. body is not the soul, so the notes are not the music” (ET 1998.
Hauer’s concept of atonality is closely connected with the P. 29). If one would ascend to the level of melody and melos,
concept of melos. Today atonal music is usually understood one has to call on higher members of the human being.
as music not bound to tonality, not based on one or more Steiner does this in NB494:
key(s) (e.g., C major, D minor, …). Atonality in this sense melody = ether-body
means “not key-centred”. (In his book Die Zwölfordnung der melos = astral body
Töne, Hermann Pfrogner develops an essentially more In GA 278, Steiner relates pitch and melos to the astral
meaningful definition of atonality, that unfortunately can- body, rhythm to the etheric body and beat to the physical
not be discussed and taken over.) body. Here in the Notebook entries he connects melody with
Hauer’s concept of atonality differs from what has become the ether-body. This is not a contradiction. Melody is indeed
usual. He means by a-tonal ‘nicht-tonlich—not sounding’. differentiated from melos, essentially by embracing rhythm.
For him atonal music is one that is free from all sensory ele- Rhythm he ascribes to the ether-body. In order to receive the
ments. The sensory element in music is the audible notes. cloak of rhythm, in order to become melody, melos has to
The more the inaudible (initially the intervals, ultimately the descend from the soul level, the astral level, to that of the
melos) can live in the music, the more atonal it is. In Hauer’s etheric, i.e., into that world that regulates and forms the ele-
view, what is actually atonal is the melos, since it stands pri- ment of time. Melos living in the world of rhythm becomes
or to all entrance into the sensory world. If the melos melody.
becomes melody, then from the atonal world melos can Nevertheless, one can relate the melodic element, which
more or less live in it, with a give or take the melody is more is primarily expressed in the movements of pitch, to the
or less atonal. “I have explained above, that a purely atonal astral body and rhythm to the ether-body, since melos
music does not exist, because this would be monophonic indeed is at work in the melodic element. “It is the etheric
and without rhythm. To a real, concrete melody, however, human being which is revealed in rhythm. If, however, we
belong both rhythm and melos, out of which harmony and turn our attention to melody, which conveys the actual spir-
polyphony come about by themselves in the course of devel- it in the musical element, then the astral being of man is
opment” (Vom Melos zur Pauke, p. 22). revealed” (GA 278, lecture 3. ET 1998, p. 40).
Only with this concept of atonality is the passage in Eury- Melody demands a working-together of the astral body
thmy as Visible Singing (ET 1998, p. 48) understandable, in and the ether-body. Through the fact that melos works in
which Steiner mentions atonal music: melody, melody belongs to the astral element; through the
Indeed, very much of what I have to say about the eury- fact that it has entered the world of rhythm, it belongs to the
thmical presentation of the musical realm can be found etheric element. If the melody contains differentiations in
in Hauer’s writings, although he expresses it in a stark dynamics, then the physical body also plays into it. If in
and radical way. He speaks, for example, about atonal singing it connects with speech, it tends towards the activi-
music. I have said that the actual musical element, the ty of the ‘I’, the ego. It is really true to say: ‘As physical human
spiritual element in music, lies between the notes, in the being I mark the beat; as etheric human being, the rhythm; as
intervals constituting that which we do not hear. In astral human being I am the evolver of melos: it is thus that I
speaking about atonal music Hauer touches on some- appear before the world.’ And, you see, the moment when you
thing that is very significant and true. He is of the opin- pass over from the musical realm to that of speech, the ego
 A R T I C L E S
24

steps in (Eurythmy as Visible Singing, p. 40) (On the connec- the lecture-course. It remains for the reader to look for this
tion of dynamics, beat & physical body, and note-values, him/herself.
rhythm & ether-body, see GA 278, lectures 3, 4 & 8.) As a help on the way, the picture of the coloured glass-win-
What is the relationship of the concept of melos to the dows of Chartres Cathedral may serve. The windows in their
concept of pitch? Pitch is gained by abstraction from melody. earthly substantiality, present the melody with pitch,
Pitch does not contain the rhythm of a melody, i.e., that rhythm, beat, timbre, etc. Through these windows the light
which is added when melos becomes melody is again sub- of the non-earthly melos shines. Frequently, when Steiner
tracted. Melos is “what is not-yet-rhythmical’; pitch is “what speaks of pitch, he means the melos shining through. He is
is no longer rhythmical”. Pitch is the attempt so to speak to concerned with the effect of the light, of the colours, not on
re-ascend artificially into realms out of which melos has the material of the windows (i.e., the glass), that is, the pitch
descended. This attempt is constantly opposed because bereft of melos.
melos is indeed something inward, astral, of the soul; pitch
is clearly marked by the physical influence, something musi- [Tr. note. Steiner’s lectures GA 278, however, are devoted to
cally seen as outward. The relationship of pitch to space visible singing. In lecture 5, the lecturer is most decidedly
estranges it from the sphere of pure melos. interested in the material of the windows! That is, what lives
Some things which belong to the present theme had to be between the masonry—the transitions between the
omitted since it would lead us too far, e.g., a closer look at the notes/tones. The masonry, too—the arms of the euryth-
role of rhythm within melody, the place of the motif in mist—are to be ensouled and filled with spirit—the point of
melody and its relationship to melos, and a discussion of the departure for the degrees of the scale. The art of eurythmy is
contrast raised by Hauer of melos and rhythm. It still has to Steiner’s answer to Hauer’s ostensibly correct diagnosis of
be mentioned that Hauer leads the concept of melos beyond the state of modern (1923), materialised music. Steiner, how-
its narrow sense in music; he sees the effect of melos in ever, answers both the over-mystical ‘not-sounding’ and ‘non
colours and forms, in speech and other phenomena of the key-centred’ atonal concepts with the concrete, creative art
world. For him, melos became a key to the spiritual primal of eurythmy (c.f., “every individual gesture” ET, p. 53 rev. , and
ground of the world. “every individual key”, p. 53). We are to “love the visible”
To conclude, a couple of aspects summarised. Melody is world—including ‘our’ bodies, not in an ‘all-too-human’ way,
more than a sequence of notes. It lifts the notes out of their but as “instruments” (TAO-exercise). This crucial justifica-
independent existence, making them part of something tion for music eurythmy has been discussed in recent num-
higher. Melody carries the notes in itself like a primal moth- bers of this journal, RB 36-42 inclusive. The idea of the win-
er. Its life takes place between the notes. That between the dows from Chartres first appeared, with an illustration, in the
notes which does not appear in the sensory world but only study-edition of R. Steiner, Eurythmy as Visible Speech, Stour-
exists through man’s inner being, the soul and spiritual bridge 1998 (includes the only version of NB494 published
human being, that is the actual melodic element. Melody is complete), available from <[email protected]>
a structure in which this sensory non-perceptible force is at
work. It embraces not only pitch, but certainly also note-val- [Hauer’s manifesto Deutung des Melos is difficult to obtain.
ues (rhythm), possibly also other elements: beat, implicit A copy is held in the library at the Goetheanum; a photocopy
harmony, division into motives, and other things. Melody is and an ET can be obtained from A.S., e-mail address above.]
the entire structure—the sensory imperceptible (the ele-
ment of melos) and what is perceptible to the senses (the
individual notes with pitch, duration and dynamics). An ele-
ment that can be taken out of melody and looked at on its
own is pitch, the ‘height’ of the notes, without considering Music and the planetary lawfulness
their duration or dynamics. Melos stands before any senso- experienced therein
ry, audible experience. It is pure spiritual movement. We
Guiding thoughts for working with the planet
possibly comes closest to it by trying to lay hold of the ele-
scales of Pythagoras’s monochord, rediscovered
ment of movement in the interval. The force of melos active
by Kathleen Schlesinger1
in the interval is that force enabling melody combining the
individual notes into a unity. Gotthard Killian, Melbourne2
Melody, pitch and melos belong together in the following
way to the essence of the human being: Melos belongs with 1. Music’s greatness. Music is experienced as being greater
the human astral element; melody, especially the aspect of than our hearing could ever encompass: its sublimity,
pitch, also with the human astral element. Since melody also inexhaustible depths, and possibilities yet unsuspected,
contains rhythm, in contrast to melos, it is also connected to are the stirring dimensions of music greatness; that
the ether-body. In so far as it contains dynamic differentia- which we do hear lets us glean of music’s unfathomabil-
tions and beat, the physical body influences it; in so far as it ity. In the world we discover this inexhaustibility, sub-
is connected to speech, the human ‘I’ also plays into it. limity, in the starry expanses, in the immeasurability of
Melos is the innermost life of the soul; melody is its expres- sunlight, of the sun’s warmth, and in nature’s elemental
sion in the world. The most noticeable element of melody is depths. The opening speech of Raphael in Goethe’s Faust
pitch, the most inner essence of melody is melos. (Prologue in Heaven) conveys an impression of these
How far Steiner’s concept of melos corresponds exactly spheres: Die Sonne tönt nach alter Weise,/ In Bruder-
with Hauer’s, I do not dare definitely to establish. For this it sphären Wettgesang,/ Und ihre vorgeschriebene Reise,/
would be necessary to speak concretely about each place in Vollendet sie mit Donnergesang.3
 A R T I C L E S
25

2. In the early Middle Ages, Boetius designated this existen- our way of attending to what is exterior to ourselves,
tial realm of macrocosmic music as Musica mundana. leading us finally to the training of our logical thinking.
And Pythagoras knew still of the harmony of the spheres, Through observation, we learn to understand the singu-
which soundingly streams toward the discarnate soul. larities of inner soul experience, in their expression as
The spiritual student prepares him- or herself during pure numerical lawfulness. The proportions stand
earthly life that (s)he might, beyond death, traverse con- before our senses, allowing pitch to be measured, dura-
sciously the planetary spheres before attaining to the tion to be counted, and dynamic intensity to be weighed.
higher, zodiacal sphere. 8. Schooling inner and outer genius. Pythagoras taught how
3. Fundamental musical experience and inner genius. The the inner and outer geniuses were to be brought into
idea of music and of its experiential depths meets with relation with each other, indicating the prerequisites for
our psychic resource; and our consciousness of human following a path that leads from sensory awakening to
life in its totality becomes vividly perceptible in feeling. the cultivation of reason.
We glean how our beings are constituted out of music, 9. Reconstruction of the Ancient Greek tonal system. To
even into their physical-corporeal foundations. As soon Kathleen Schlesinger we owe the rediscovery of the
as the development of the human form is so far com- Greek music system. With exact indications for intona-
pleted that it presents itself in the upright, possesses vol- tion and notation, citations from Aristotle and Aris-
untary motion, and allows its power of speech to sound toxenos, and the reconstruction of scales as played on
forth freely, there emerges in the human being a con- the Aulos, Schlesinger gives us the possibility to recon-
sciousness for his or her fundamentally musical nature. nect with the music of Pythagoras’ time. The Pythagore-
This musicality becomes experienceable as imaginative an system has nothing to do with those abstractly con-
power. Within imaginative experience, every height and ceived whole- and half-tones of an Aristoxenos, with
depth, every expanse and compression, lets itself arise. which subsequent theories of intonation are occupied.
4. The Middle Ages called this realm Musica humana. As the That the idea of the spheres’ harmony did remain after
planetary spheres sound together in the macrocosm, so Aristotle is testified to by the Pythagoreans and Neopla-
do the planetary forces sound upon each other within tonists, who describe how musical experience originates
the human organs, being borne, in the healthy person, in through intervals generated on the monochord in
psychosomatic equilibrium. whole-number proportions.
5. Inner richness and outer genius. In bringing forth music 10. Phenomenology of the intervals. That which, due to its
with our voices and our instruments, we participate apparent daring, seems, like an ingenious idea, almost
actively and creatively in the musical forces of the world speculative, is merely an holistic phenomenology based
and the soul. Here a veritable cornucopia of expressive on pure observation, comparable with Goethe’s phe-
possibilities is available to us. We become aware of the nomenology of the archetypal plant, in this case found-
richness of human endeavour within specific cultural- ed in the figure of the Sun Harmonia, the inherent polar-
historic contexts. ities of which are fully equilibrated from within. This is
6. The stylistic development of a musical epoch is founded revealed by a scale-configuration mastering all three
in general societal style-development, extending howev- realms of Logos, Harmonia and Rhythmos.
er to incorporate personal responsibility, experienced 11. a) The Sun Harmonia is reaped from the pure whole
and grasped in freedom. The Middle Ages spoke of Musi- numbers, or the proportions of the Number-Logoi. Its
ca instrumentalis, which included song. ground tone is c = 256Hz, this being the Sun Tone of the
7. Music as a whole. Since ancient times, musicians have Sun Scale. It descends from the Arché-Tone #f, the natur-
known that music as a whole consists of a triad of realms. al fourth in relation 8/11. The intervals are formed, in
Plato said that in Logos, in Harmonia and in Rhythmos terms of their ratios, descendingly: 8/9, 9/10, 10/11,
together we have music, that is, in word, in harmony, and 11/12, 12/13, 13/14 or 13/15, and 14/16 or 15/16.
in the dance. Through education these become eulogy, b) This is brought together as a Harmonia in balance with
euharmony, and eurythmy, or beautiful speech, pleasing itself, uniting within itself the archetypal gestures of
concordance, and graceful gesture. It is music as a whole contraction and expansion.
that through the (wo)man, who with virtuosity masters
art, speaks to the (wo)man. To cultivate the virtues of
music – whether as purely intuitive understanding of the
inner-singing voice of conscience, or as the command of g## a# hb c db eb f#
inspirative hearing, or in the imaginative mood which 7-tone configuration 14:13: 12: 11:10: 9 : 8
seeks grace in the gestures of a gravity-overcoming body 11
– leads holistically to an understanding of artistic treat-
ment, that is, to “nebulisation of the tone” (Goethe: Ton- c db eb f# gb a# hb c
lehre, 1810), and to awareness and consideration of or 8-tone configuration 11:10: 9 : 8 – 15:13:12:11
music’s purely lawful proportions, which nature mathe- 11
matically-objectively applies. Here we touch upon the (pitch-designations approximate)
elements of the single domains: measure; number; and
weight. The sequential arrangement of these discrete Tetrachord of expansion 11:10:9:8 = c db eb f#
elements in music appears in musical experience as a 11
relatedness, a bound-togetherness. Through observa-
tion, the world learns to know us, obtaining insight into
 A R T I C L E S
26

Tetrachord of contraction 11:12:13:14 = c hb a# g## were destined to introduce polyphony, then always
11 against the background of seven interval degrees. This
sevenfold concept has always played a carrying role.
c) Through modal displacement the gamut of seven (plan- However, the life of melody is endangered by the triadic
et) modes sound, seeking the Rhythmos adequate to chord, should melody find no opportunity to speak
each of their characters. The disequilibrium peculiar to through the intervals’ essential inaudibility.
each mode occasions the necessity for balancing out 14. In that the Sun Scale proffers, in the temporal-rhythmic
through an equivalence. The scales are balanced out as appearance of the tones proper to it, greatness of listen-
follows: ing space and the playful joy of discovering interval rela-
tions therein, the truth, that music announces the spiri-
the Moon Scale by the Saturn Scale; tual in nature, is confirmed.
14:13:12:11 – 10:9:8:7 16:15:13:12 – 11:10:9:8 15. Playful intuition. Among the musicians stimulated to
11 11 work with the planetary scales (under the methodical
instruction that intimate acquaintance with the Sun
the Mercury Scale by the Jupiter Scale; Scale imparts) are those who hold the apparently con-
26:24:22:20 – 18:16:14:13 18:16:15:13 – 12:11:10:9 cludent development of classical music in question,
11 11 seeking answers instead in organic natural laws, such as
these stood at humanity’s unmitigated disposal prior to
and the Venus Scale by the Mars Scale. the Greek classical period, as intuitive musical fantasy.
24:22:20:18 – 16:14:13:12 20:18:16:15 – 13:12:11:10 Today we can earn intuition for ourselves through con-
11 11 sciousness. Whether it be in the work with four-, seven-,
nine- or thirteen-tone scales that we delight, or in the
12. The Harmoniai can be constituted from the other plan- playful engagement with other elements, we see in our
ets’ Logos-Tones also. These find revelation within inner labour the endorsement of our interest in the phenome-
hearing to the precise degree given by one’s earned famil- na. For the laws of nature convey, to those who recognise
iarity with the Sun Harmonia. The other Harmoniai are them, the consciousness of freedom; while the rules and
in their expressive constitutions not in the same way bal- duties which human beings themselves have set up, of
anced, requiring therefore an intensive study before they which the ‘law’ of whole- and half-tones is a singular
can be precisely measured in their effect. With c as case, originate in the will to know and attend to our fel-
ground tone for each of the seven planet Harmoniai, the low human and living beings. Thus emerges polyphonic
following scales result, their pure number ratios again awareness. But how are nature and community related
providing a foundation for modally expanded configu- within moral imaginative consciousness?
rations: 16. Trust in the suggestions of inspiration. Traditional musi-
cal laws find employment through the com-
poser’s intentions. When such intentions
Saturn Jupiter Mars Sonne Venus Merkur Mond trust in interpretative creativity, that is, in
individual inspiration of musical mood, the
Octave 8 9 10 11 12 13 14/15 consequence is that far freer specifications
Seventh 9 10 11 12 13 14/15 16 can be given, enabling the emergence of sig-
nificant developments in composition.
Sixth 10 11 12 13 14/15 16 18 17. The new dance of imagination. As consti-
tutionally determining as the Sun Harmonia
Fifth 11 12 13 14/15 16 18 20 is, it still influences the way of music’s free
Fourth 12 13 14/15 16 18 20 22 development. With the Sun Harmonia only
the beginning to our work with the planetary
Third 13 14/15 16 18 20 22 24 scales is made. In their diverse fields of appli-
cation, the planetary scales present music
Second 14/15 16 18 20 22 24 26 with a wealth of creative possibilities, far sur-
Prime 16 18 20 22 24 26 28/30 passing everything of a personal nature, yet
enabling the musician to unfold him- or her-
self individually.
(The tone 15 or 30 is employed always for the Saturn, Jupiter, 18. Future musical development. The development and ful-
Mars and Sun modes.) filment of a music for all ages and all areas of life would
be as seed-corn for the coming times. “Nach innen geht
The exact intonation can be surveyed through the division der geheimnisvolle Weg” (Novalis).4 The future power of
of a monochord into the relevant number of equidistant cognitve musical fantasy must generate itself from the
segments: Saturn 16, Jupiter 18, Mars 20, Sun 22, Venus realm of inner genius. This will become the key to and
24, Mercury 26, Moon 28. solution for actual social needs – not in order to steal
13. The equilibrium of the Sun Scale is uncompromisedly away from real social responsibility, but to disclose the
archetypal in its organic lawfulness. No other example inner richness, and, in bond with the just (wo)man, to
can serve so lawfully to present music’s organicness. If in say, in the judicious moment, “Es ist an der Zeit”5 (Goethe.
medieval music history the Aristoxenian church modes Fairy-tale of the Green Snake and the Beautiful Lily).
 A R T I C L E S
27

1 Excerpt from Die Monochordschule des Pythagoras und The Philosophy of Freedom
das Musikalisch-Organische (Gotthard Killian, Mel- as a Musical Composition
bourne: BlueHill Publishing, 2006). The seven-sentence rhythm of love - Part I
2 Translated by Danaë Killian.
3 “The Sun intones, in ancient tourney/ With brother- Alan Stott, GB-Stourbridge
spheres, a rival song,/ Fulfilling its predestined journey,/
With march of thunder moves along” (Translated by In the Preface to the original edition (1894) The Philosophy
George Madison Priest, available on the Internet at of Freedom,1 Rudolf Steiner writes that “all genuine philoso-
http://www.levity.com/alchemy/faust01.html). phers have been artists in concepts”. During the lecture-
4 “The way of mystery leads inwards.” course on The Gospel of St John, he says2 The Philosophy... is
5 “The hour is at hand” (Goethe’s Fairy-tale of the Green a “logically arranged organism of thought” that should be
Snake and the Beautiful Lily). read like a musical score. He says similar things about his
[tr. Gotthard Killian] other writings, including transforming Occult Science and
the lecture-courses into music. For good prose style, more-
over, Steiner3 specifically recommends the chiastic form: the
first sentence of an essay should relate to the last, the second
to the penultimate, and so on.
Only when he [a writer] comes to the middle of his essay
can he allow himself to concentrate on one sentence
alone. If an author has a true feeling for style in prose, he
will have the whole essay before him as he writes.
 A R T I C L E S
28

This last sentence recalls Mozart’s claim to have the whole each percept the content of the self, too, is changed, I am
symphony in mind before committing it to paper. Can we compelled to connect the observation of the object with
begin to justify Steiner’s remarks? Here we concentrate on the changes in my own condition, and to speak of my
this one text, whose title-page reads: The Philosophy of Free- mental picture.
dom: bases for a modern world-conception. Results from Chapter 4 consists of 41 such sequences of seven sen-
observations of the soul [or self-observation] according to the tences. The example above marks an important stage in the
methods of natural science. Here is announced a future aim argument. The activity of the ego, or self, has to be discerned
of humanity, to reunite science (method, logic) and religion before we can proceed. In reading , moreover, we repeated-
(including ethics) through art (especially literary-musical ly pass each ‘ego-point’ (the fourth of seven stages). Each
form). chapter contains its own symmetrical ‘butterfly’-pattern
involving units of seven sentences arranged around a vary-
The tree in Part One ing number of central sentences.4 (This does not preclude
We are deeply dissatisfied with the given world, Steiner the possibility that other rhythms are present as well. It
(chapter 2, sentences 8-14) writes: explains, too, why the numbers 1-7 are added here to the
(1) And our thirst for knowledge is but a special instance of quoted passages.) To follow the rhythm of seven, we exercise
this dissatisfaction. the senses of balance, movement and life, which are the basis
(2) We look twice at a tree. of the three higher stages of cognition. Thoughts relate
(3) The first time we see its branches at rest, the second time across the middle point: 1-7, 2-6, 3-5, like the Menorah
in motion. lampstand in Solomon’s Temple, which symbolised the pres-
(4) We are not satisfied with this observation. ence of the Lord. If every statement ‘kills’ living thinking—
(5) Why does the tree appear to us now at rest, now in and every fourth sentence is the pivotal statement—, then in
motion? the rhythm of seven, a musical pathway is offered to human
(6) Thus we ask. thinking for the forces of transformation, re-creation or res-
(7) Every glance at nature evokes in us a multitude of questions. urrection. This is one way of interpreting Steiner’s demand
It is remarkable how often the image of a down-to-earth that the work of the spiritual researcher has to be studied dif-
‘tree’ occurs from Plato to Kant, Buber and beyond. It is as ferently from the works of other writers. Steiner always
though, instinctively, thinkers already recognise ‘the tree’ as points beyond materialism. The literary form chiasm, or chi-
a picture of thinking activity. Is it more than a metaphor? asmus (used, for example, throughout the Psalms), by
At the beginning of chapter 4 (sentences 1-7), the tree involving a reference back, goes beyond transcendence. It
helps us to define concepts. reveals itself above all as a technique of transformation.
(1) Through thinking, concepts and ideas arise. Ignoring for the moment the form of the lecture-cycles, I
(2) What a concept is cannot be expressed in words. suggest the traditional chiastic form is re-employed as a sev-
(3) Words can do no more than draw attention to the fact en-sentence rhythm throughout all Steiner’s written work.5
that we have concepts.
(4) When someone sees a tree, his thinking reacts to his The Plant
observation, an ideal element is added to the object, and Meanwhile, in The Philosophy... we have already been
he considers the object and the ideal counterpart as introduced to ‘the plant’ in chapter 3. (The tree, of course, is
belonging together. also a plant.) The theme of feeling, already struck at the end
(5) When the object disappears from his field of observation, of chapter 1 (where ‘love’ is first mentioned), is taken up
only the ideal counterpart of it remains. (3:59, 60): “For observation, a pleasure is given in exactly the
(6) This latter is the concept of the object. same way as the event which causes it. The same is not true
(7) The more our range of experience is widened, the greater of a concept.” The example given is of a rose (3:67):
becomes the sum of our concepts. When I say of an observed object, ‘This is a rose,’ I say
In sentences 92-8, the picture of trees in perspective is absolutely nothing about myself; but when I say of the
brought to show how our perceptual picture depends upon same thing that ‘it gives me a feeling of pleasure,’ I char-
the perceiver. The main point comes right at the centre of acterise not only the rose, but also myself in my relation
chapter 4, itself the central chapter of Part One. From this we to the rose.
find the following seven sentences (4:141-47) forming the The rôle of feeling is discussed in various parts of the book.
actual numerical centre of Part One of The Philosophy of Raised to a way of life (mysticism) feeling (8:41) is “purely an
Freedom. individual affair”. In its right place feeling is the badge of our
(1) When the tree disappears from my field of vision, an humanity (6:73): “A true individuality will be the one who
after-effect of this process remains in my conscious- reaches up with his feelings to the farthest possible extent
ness—a picture of the tree. into the region of the ideal.”
(2) This picture has become associated with my self during The naive man regards thinking (5:56) as having “nothing
my observation. to do with things, but stands aloof from them and contem-
(3) My self has become enriched; its content has absorbed a plates them”. But, Steiner (5:59-70) asks,
new element. What right have you to declare the world to be complete
(4) This element I call my mental picture of the tree. without thinking? Does not the world produce thinking in
(5) I should never have occasion to speak of mental pictures people’s heads with the same necessity as it produces the
did I not experience them in the percept of my own self. blossom on a plant? Plant a seed in the earth. It puts forth
(6) Percepts would come and go; I should let them slip by. root and stem. It unfolds into leaves and blossoms.
(7) Only because I perceive my self, and observe that with
 A R T I C L E S
29

(1) Set the plant before yourself. cept of the tree out there and the percept of my ‘I’ in here.
(2) It connects itself, in your mind, with a definite concept. (7) Were I not a world knower, but world creator, object and
(3) Why should this concept belong any less to the whole subject (percept and ‘I’) would originate in one act.
plant than leaf and blossom? In other words, we have to get beyond the stage of an
(4) You say the leaves and blossoms exist quite apart from a ‘onlooker consciousness’. This by itself spells the human
perceiving subject, but the concept appears only when a nightmare (loneliness, etc.), but overcome it leads to the pos-
human being confronts the plant. sibility of human fulfilment. Its technical name is ‘the con-
(5) Quite so. sciousness soul’.
(6) But leaves and blossoms also appear on the plant only if
there is soil in which the seed can be planted, and light The Tree in Part 2
and air in which the leaves and blossoms can unfold. We have followed a path inwards from the tree to our-
(7) Just so the concept of a plant arises when a thinking con- selves, and finally to the thinking process itself (9:273-4):
sciousness approaches the plant. Every existing thing has its inborn concept (the law of its
The active mind produces living concepts as the soil pro- being and doing), but in external objects this concept is
duces living plants, and both belong to reality. The next sev- indivisibly bound up with the percept, and separated
en sentences introduce the example of the rose-bud. The from it only within our spiritual organisation. In the
central sentence of the seven (5:74) reads: human being concept and percept are, at first, actually
If I watch the rosebud without interruption, I shall see separated, to be just as actually united by him.
today’s state change continuously into tomorrow’s The part played by the tree in Steiner’s examination of how
through an infinite number of intermediate stages. we gain knowledge now noticeably shifts in Part Two. The
Our knowledge comes from two sources, perceiving and tree seems to become a simile; it becomes internalised, first
thinking. We have to provide the concepts, including living as “Haeckel’s genealogical tree” (Haeckel has been called
ones of metamorphosis, and thereby knowledge of the full “the German Darwin”). As such, we could say, it continues its
reality can result. life in human thinking and doing (12:87-8):
The central seven sentences of chapter 5 explains how the Haeckel’s genealogical tree, from protozoa up to man as
ego, discerned in chapter 4 (“my mental picture”), is now an organic being, ought to be capable of being continued
transcended. Reducing this to the central four sentences without an interruption of natural law and without a
(5:123-6), we meet the insight that break in the uniformity of evolution, up to the individual
Our thinking is not individual like our sensing and feeling. as a being that is moral in a definite sense. But on no
It is universal. account could the nature of a descendant species be
It receives an individual stamp in each separate human deduced from the nature of an ancestral one.
being only because it comes to be related to his individ- Steiner leads up to the possibility of “ethical individual-
ual feelings and sensations. ism” in chapter 9, “The Idea of Freedom”. In chapter 10:59,
Through these special colourings of universal thinking he declares: “Each one of us has it in him to be a free spirit,
individual human beings are differentiated. just as every rose-bud has in it a rose.” In chapter 12:86, he
The example here (5:135f.) is of the “one uniform concept points out how “ethical individualism... is not in opposition
of ‘triangle’ [which] does not become a multiplicity because to a rightly understood theory of evolution, but follows
it is thought by many persons. For the thinking of the many directly from it”. In other words, nature continues developing
is itself a unity”. within the human being (12:93, 100-1):
The appearance of completely new moral ideas through
Steiner’s paradigm of the “tree” first moved its branches, moral imagination is, for the theory of evolution, no
and our questioning was stimulated. It appeared next in the more miraculous than the development of a new animal
definition of “concept”, which we contribute in the pursuit of species out of the old one... Ethical individualism, then...
knowledge. Then we noticed thinking itself producing both is spiritualised theory of evolution carried over into
the percept of “the self” and that of “the tree”, and the ques- moral life.
tion was raised whether the concept “plant” belonged any The naive man, however, continues to look outside, imag-
less to the whole plant than “leaf and blossom”. When the ining, for example, “purposes in nature”. These are in fact
tree appears again, what further stage will be introduced? “arbitrary”, for “in a realistic sense, an idea can only become
The challenge is issued in the second seven-sentence effective in the human being” (11:32, the central sentence).
group (8-14) of chapter 6: The discussion in the latter part of the book establishes the
(1) The question: ‘How do I get information about that tree autonomy of the human being as an ultimately attainable
ten feet away from me?’ is utterly misleading. ideal (9:254f. & 266ff.).
(2) It springs from the view that the boundaries of my body Which of us can say that he is really free in all his actions?
are absolute barriers, through which information about Yet in each of us there dwells a deeper being in which the
things filters into me. free person finds expression... Man must unite his con-
(3) The forces which are at work inside my body are the same cept with the percept of human being by his own activi-
as those which exist outside. ty. Concept and percept coincide in this case only if man
(4) Therefore I really am the things; not, however, ‘I’ in so far himself makes them coincide. This he can do only if he
as I am a percept of myself as subject, but ‘I’ in so far as I has found the concept of the free spirit, that is, if he has
am a part of the universal world-process. found the concept of his own self.
(5) The percept of the tree belongs to the same whole as my ‘I’. On the next page (9:283f.) we read:
(6) This universal world-process produces equally the per- The perceptual object ‘human being’ has in it the possi-
 A R T I C L E S
30

bility of becoming a complete plant. The plant trans- Mi.). Bullinger finds examples throughout his astonish-
forms itself because of the objective law inherent in it; ing The Companion Bible. Oxford 1909-21 (in print:
the human being remains in his incomplete state unless Kregel)
he takes hold of the material for transformation within (4) The sentence pattern for each chapter of The Philosophy
him and transforms himself through his own power. ... GA 4 (Germ. text 1894) seems to be
And in 13:328: “For a man who is harmoniously devel- [1] 131 sentences = (7 x 9) + 5 + (7 x 9)
oped, what we call ideals of virtue lie, not without, but with- [2] 121 = (7 x 8) + 9 + (7 x 8)
in the sphere of his own being.” [3] 233 = (7 x 16) + 9 + (7 x 16) at the same time 4(9 x 3)
Plant growth is subject to the law of metamorphosis, a + (6+5+6) + 4(9 x 3)
manifestation of transformation. Transformation is to be [4] 287 = (7 x 41), i.e., (3 + [7 x 5] + 3) where the unit = 7
increasingly taken up by the individual human spirit. Here sentences.
we can assist nature by spiritually applying the practices of [5] 248 = (7x17) + 10 + (7x17)
cultivation, such as pruning, and so on. In a famous passage, [6] 88 = (7 x 6) + 4 + (7 x 6)
Shakespeare’s Polixenes replies to Perdita (The Winter’s Tale, [7] 199 = (7 x 14) + 3 + (7 x 14)
IV, iv): [8] 70 = (7 x 10)
This is an art [9] 313 = (7 x 21) + [(3 x 3) + 1 + (3 x 3)] + (7 x 21)
Which does mend nature—change it rather; but [10] 72 = (7 x 5) + 2 + (7 x 5)
The art itself is nature. [11] 63 = (7 x 9) at the same time (9 x 3) + (3 x 3) + (9 x 3)
The same point is made in Theosophy.6 In several places, [12] 137 = (7 x 9) + 12 + (7 x 9)
Steiner stresses the need for people to awaken to responsi- [13] 346 = (7 x 24) + 10 + (7 x 24)
bility for their self-education. Such a path is contained even [14] 59 = (7 x 4) + 3 + (7 x 4)
in the structure of The Philosophy of Freedom. In observing [15] 102 = (7 x 7) + 4 + (7 x 7), at the same time [(7 x 3) +
our thinking, we discover (2:115) “something more than ‘I’ is (3 x 3) + (7 x 3)] x 2
here” (cf., John 14:28). This activity of observing our own (Three arbitrarily-chosen attempts tracing triadic sen-
thinking can be applied to the book itself, as we are attempt- tence-form are also included.)
ing here in a specific way. It is a feature of style, or composi- Steiner himself wrote (endnote to Christianity as Mysti-
tion, in all Steiner’s writings. Steiner is mapping out a path cal Fact. GA 8, 1902): “Regarding the significance of the
where the reader himself humanises nature.7 number seven, enlightenment may be gained from my
(to be concluded) book Occult Science.” Other students have discovered
______________________ structural rhythms in Steiner. F. Hiebel, ‘Die letzte
AP = Anthroposophic Press, Great Barrington, Mass. Vorrede zur Geheimwissenschaft’ (F. Hiebel, Entschei-
U.S.A. dungszeit mit Rudolf Steiner. Dornach 1986) discovered
GA = Gesamtausgabe, the numbered Collected Edition of from the content (not sentence pattern) a sevenfold
Rudolf Steiner’s works, published in Dornach, structure in R. Steiner’s last Preface to Occult Science (no
Switzerland. ET). George & Gisela O’Neil. ‘A Workbook on Rudolf
RBe = Rundbrief English version; Newsletter of the Sec- Steiner’s “The Philosophy of Spiritual Activity”’ (alterna-
tion for Eurythmy, Speech and Music. Dornach tive title of the same book) is a detailed study based on
(biannual). Also available on the internet (apply the paragraphing (1962). Copy held RSLG & RSL.
[email protected]). (5) For example, the passage from GA 16 about ‘lightning’
RSL = Rudolf Steiner Library, London [email protected] (quoted by Arnold Pröll in RB 43) is the central 7-sen-
RSLG= Rudolf Steiner Library, Ghent NY 12075, U.S.A. tence group (sentences 50-6) from a chapter consisting
[email protected] of 105 (= 7 x 15) sentences.
RSP = Rudolf Steiner Press, London. (6) R. Steiner. Theosophy. GA 9. RSP, 1973. P.70.
(7) This phrase concerning Shakespeare is Coleridge’s, and
(1) References refer to The Philosophy of Freedom. Tr. he did not mean it metaphorically. Owen Barfield, Sav-
Michael Wilson. RSP 1964 (occasionally rev. with refer- ing the Appearances (Wesleyan 1988), concludes (p.183):
ence to Steiner’s sentence arrangement). The present “[T]he possibility to look back at the history of the world
article is a shortened and rev. version of Alan Stott, ‘Was and achieve a full waking picture of his own gradual
für ein Baum ist ‘Die Philosophie der Freiheit’?’ in emergence from original participation, really only arose
Jahrbuch für anthroposophische Kritik. Trithemus Verlag, for man... in the nineteenth century.”
Munich 1994. Pp. 83-98. Both English (‘What sort of tree
is “The Philosophy of Freedom”?’) and Germ. versions
are held in RSL.
(2) R. Steiner. The Gospel of St John. GA 103. Lecture 12, Anthroposophy and Christianity
Hamburg 31st May, 1908. RSP 1978.
(3) R. Steiner. Speech and Drama. GA 282. Lecture 3. Dor- Thomas Göbel, DE-Öschelbronn
nach, 7th December, 1924. RSP. P. 68. For chiasm in
Shakespeare, see Sylvia Eckersley, Floris Books forth- In his book Christianity as Mystical Fact and the Mysteries of
coming. See also E.W. Bullinger, ‘Correspondence’ in Fig- Antiquity, Rudolf Steiner describes the etheric Christ as the
ures of Speech used in the Bible. London 1898 (Baker, original Being of the Sun who through the Mystery of Gol-
Grand Rapids, Mi. 1968. Pp. 363–93); and in How to Enjoy gotha unites with the earth, helping where human being lis-
the Bible. London 1928 (reissued Kregel, Grand Rapids, ten to the voice of their conscience. Today this is only possi-
 R E P O R T S
31

ble where, as free beings, human beings unfold their indi- head, in a simple form through three creases in it, takes up
vidual initiative between Islamic fundamentalism and the the structure of the chest. That is the side of Lucifer of the
globalised world of the media. Both Islam and the world of sculpture. The side of the forehead on the side of Ahriman,
the media demand the uniformity of behaviour. the right arms and the right side of the chest do not take part
Both have nothing to do with Christ. Islam is a form of con- in this described metamorphosis, and here the border is
sciousness, that drags the ancient Paradise into the present. established which repels Ahriman. The dress over the hips
Allah is the god of ancient Paradise, who rewards and pun- and the legs continues over the right side the overall meta-
ishes, and promises paradise after death, even for suicide. In morphosis over the left hand via the chest into the right side
contrast to this, the world of the media recognises no spiri- of the covering of the legs. A diagonal axis arises from the left
tual world; it only interested in what the human senses hand via the arm and chest to the right leg.
achieve for consciousness. Anyone not acting out of his own The left arm, as it appears to me, turns away Lucifer, the
egoism is termed stupid. Between fundamentalism and the right leg Ahriman. Consequently, the thigh of the left leg
world of the media there stands the anthroposophical path takes up the metamorphosis of the chest, which governs the
of schooling when it is seriously pursued. It leads, even if at whole left side. The left side strives upwards to the left, the
first with small steps, to the revelation of the Christ. And the right side rejects downwards to the right. The whole thing
only sure way in this direction is the voice of conscience. establishes a continuous diagonal axis from below right
Rudolf Steiner has not only perceived the spiritual world and towards left above and a threefold metamorphosis from the
described the path of schooling, as artist with the help of left thigh via the chest rising up on the left and the left side
Edith Marion he has also presented am image of the etheric of the forehead. Polar to this, the right side is related, appear-
Christ. This entire sculpture was to form the centre in the east ing in a threefold manner. It begins with the right eyebrow,
of the small cupola space of the Goetheanum. Because this the right arm and the right leg. A special thing, apparent to
incomplete work of art was still situated in the workshop, it a profile view, shows the forehead between the eyes. With
was saved from the burning on New Year’s night 1922/3 of the every human being, this is the seat of the ‘I’. In Steiner’s
First Goetheanum, likewise constructed in wood. This sculp- sculpture, this point is striving forwards. This exists in no
ture shows Christ between Lucifer and Ahriman and also the human being. In all human beings according to my obser-
meeting between Lucifer and Ahriman without Christ. Christ vations, the bridge of the nose between the eyes is a deep-
Himself—and here we would like to limit our comments—is ening and not a projection. The entire sculpture, then, can
in Goethe’s sense a metamorphosis, whose centre is the be understood as a metamorphosis in Goethe’s use of the
chest. The rhythmical structure of the chest continues imme- term, needing no further explanation. We are dealing with a
diately in the left arm in relation to the left side of the head, work of art that makes visible the etheric Christ out of the
with the forehead and the head of hair. On left side of the fore- metamorphosis which it contains.

REPORTS

A Second Report on the International ever more urgent to plan these courses during the work-
Eurythmy & Education Mandate Group ing day (e.g., Thursday afternoon and Friday). This has to
of both Sections be strengthened further if the further-training process is to
remain healthy.
Werner Barfod, CH-Dornach, October 2005 – We have repeatedly taken study-of-man, agogic, euryth-
mical themes, and at the end criteria of movement with
In a first report in autumn 2003 we introduced the work- the pupils of the various age-groups, as with eurythmy
group and described the areas of tasks with which we have students. In order to come to fruitful discussions, it needs
worked. In autumn 2005, we reviewed four years of work and clearly grounded criteria, also for adequate evaluation.
end our work-rhythm, having divided between us the out- – We have prepared in detail for the differentiated further-
standing tasks. We aim to keep in touch by writing, meeting training for eurythmy teachers, their questions and needs,
again in autumn 2006 to round off the work through con- in order to make offers with specific aims. Especially in
versation. Holland this has been prepared in some detail.
– The eurythmical year of teaching practice is a fruit of col-
What has changed? laboration: In particular the North-German Education
– The exchange between the Steiner-Waldorf Schools in the Training model together with the Eurythmy Trainings in
provinces concerning eurythmy in school has intensified Den Haag and Witten-Annen freshly organised as an edu-
internationally, first in the German-speaking countries: cational, eurythmical professional qualification with a
Germany, Austria, Switzerland, to which we add Holland. recognised diploma: Bachelor of Art. This is initially open
– Here we repeatedly meet a basic question. How far is it to students in their 5th year, but in future has to be inte-
possible to address the Anthroposophical Society in the grated into the 4-year training.
provinces concerning their responsibility of protecting
this young art in the world. The mutual interest in live and Topical processes:
let live is of fundamental significance. – A clear forward-looking mood is perceptible in the basic
– We have taken pains for the educational and eurythmical training in order to gain the professional qualification in
further-training courses in the provinces. It has become the fourth year.
 R E P O R T S
32

– We have attempted to build up and consolidate the work- the last two years, worldwide eurythmy training initiatives
ing together of mentors in regional meetings, and as a net- have doubled.
work. This creates on the one hand more consciousness – In Angelika Jaschke the trainings have found a co-ordina-
and the feeling of belonging together, and on the other tor, who is fostering active contact to all the Eurythmy
hand creates confidence at home. Therapy Trainings in the world, to all the regional repre-
– The main tasks of our working circle are the seams between sentatives of eurythmy therapy, fields of practice and pro-
the basic training and educational competence in the sub- fessional Associations. Out of this there is formed once a
ject of eurythmy, as well as regards the introduction to the year a forum on the international level for exchange on
profession. Much has happened in the meetings for train- questions of concern. Through networking, this has
ers and the conference, in the individual trainings world- already changed to a healthy level of consciousness.
wide. Of course this has to be fostered further. – The eurythmy therapy training is beginning to enter inten-
– The eurythmy teachers in the teacher trainings have to be sively for recognition of the profession, and thereby also
and become experienced eurythmy educators in order to for the qualifying finals.
convey to the student-teacher experiences of eurythmy
for the development of children. This is still an outstand- What we are still attempting
ing task. – Essays out of the research work of individuals and smaller
– The way of teaching in the eurythmy lessons in the train- groups have appeared in the Section Newsletter.
ings has still to be worked on, and many basic things have – A documentation on the rod-exercises was worked out
to be renewed. Despite all-round attempts, we are slowly with reports on experience, and will be edited and pre-
gaining ground. pared for the press by Frau Rosemaria Bock.
– A new attempt is to gain an overview of the joys and needs – The mentor networking and schooling has to be built up
with regard to eurythmy at the school in countries where in order that the seam between the subject training and
an intensive increase in new Waldorf Schools. the beginning of professional work can be bridged.
– All this has led to the decision to round off our working – The research questionnaire to the changes in the consti-
rhythm, but to communicate through writing on ques- tution of the students in the basic training has to be con-
tions and results and to meet again in autumn 2006. We tinued into phase 2, in order to arrive at satisfying results.
divided the outstanding tasks amongst ourselves and will The searching, anthroposophical, study-of-man collabo-
see how far we have come. ration stands as the focus in all our meetings. We assume
At this point, all participants are to be warmly thanked for that in the coming year the written exchange is carried, mak-
their extra input. ing for a fruitful rounding-off possible in autumn 2006. All
participants are to be warmly thanked.

A Second Report from the Internation-

al Eurythmy Therapy Mandate Group Lesson Time-Units and Lesson Prereq-
of both Sections uisites in Steiner-Waldorf Schools
Werner Barfod, CH-Dornach, October 2005 Rosemaria Bock, DE-Stuttgart

An increasing number of Waldorf-School colleagues [on the

In autumn 2003 we introduced the working group and Continent]—together with the School Council members—
sketched its tasks. Now, in autumn 2005, we glance back over expect that the eurythmy teachers teach more lessons than
the four years of work and have once again divided our tasks, they have hitherto taught, as set up by a general agreement
will keep in contact by writing and round off the work by In other words, instead 17 – 19 lessons a week, there now
meeting in autumn 2006. should be 22 – 26 lessons, as “many” as other teachers.
Why? Because it is the same in other subjects. The reasons
Some things have changed are, on the one hand there is a new economic drive, and on the
It is not claimed that this in only the result of our work! other hand a new thinking says that eurythmy teachers
– Out of our meeting as a group, we have carried three fur- should not play a special role. The norm is a lesson, a time-
ther-training weekends for trainers in the basic eurythmy unit of 45 minutes, that means, one lesson is like all other
training and eurythmy therapy trainings. We worked on lessons. The thinking here works with the principle of equal-
eurythmy on the basis of a study-of-man, under different ity, that everything is measurable and countable, a mutually
themes. comparable “one-for-one”. This basic thought is materialistic.
– One of our tasks, to become active in the seam between The eurythmy teachers, convinced that they do not play a
the basic training and the professional subject training, special role, already work as much as their teacher-col-
will be realised alongside the conference themes in Janu- leagues. They point out that their lessons are more strenu-
ary 2006 during the conference for trainers. ous than other lessons.
– In the eurythmy therapy trainers meeting in November This is something that their teacher-colleagues do not
2005, the trainers wanted to agree on a common curricu- understand. They have done little eurythmy themselves and
lum, which would also give criteria for recognition of the do not join in eurythmy for the Collegium; the School Coun-
professional training. cil members partly do not know eurythmy at all. They can only
– This is becoming increasingly more urgent since, during see that the eurythmists are “more delicate” or even “special”.
 R E P O R T S
33

Looking at the problem “one-for-one” from the point of to 8 hours? What can a remedial teacher and a eurythmy
the concept of time, we find that our subjective experience therapist achieve, who work with individual children or
of time is most multi-faced, in contrast to the concept of sometimes with a small group? What can a teachers achieve
time as an even flow, that comes from the future, passes who mostly takes up a workload of mostly double lessons—
through the present moment, and disappears into the past, perhaps only for a few age-groups? For the class teacher it
regulating life into many time-divisions. has been known for a lng time that taking a class involves
As individual we know times that pass slowly or quickly, that more hours than the clock counts; it demands a full teach-
are filled or creep along as if empty. Activities can produce on ing curriculum (with a few extra subject-lessons it usually
the one hand a long-winded feeling for time, or one that can amounts to 20 – 22 lessons a week). Of course, he has special
be rich or even over-rich. Every day, every hour possesses its “extra work” with the parents, and so on. Yet one can ask, do
own length. Minutes can demand a lot of strength, or they can not all the colleagues have this, too (including the work with
ray out calm and relaxation. Memories connect to high-points parents, visits, school management, and so on?) Unfortu-
in life, less with the long periods lying between. nately this is frequently not sensibly allocated. Here many
So, a measurable time exists which we need as an impor- eurythmists could achieve much.
tant structure to our lives, connecting us objectively to the Let us look in a more differentiated manner to time in con-
whole of humanity and treating us equally, and there exists nection with achievement and effort. All School Council
time as experienced, in which we live rhythmically, looking members should sit in lessons, and the same applies to all
towards absolutely-filled moments and days as well as to upper-school teachers in the lower school, especially in
relaxed hours, which either lead to “boredom” or to recu- music‚ eurythmy and sport lessons.
peration, giving space for the imagination and one’s own life The time needed for preparing lessons is of course differ-
of soul. ent according to the subject. But here, too, a “one-for-one”
Returning now to the basic question of the timetable, let concept cannot be applied, since an artistic preparation is
us take more concrete examples. How many hours and of not comparable in terms of time and strength with the
what kind can teachers spend with children in order to preparation for work in gardening, or crafts in any form,
achieve a filled, comprehensive working-time, qualifying for including marking workbooks.
a full-time position as a teacher who can financially live from A subsidiary question: Where does there exist a [time]
his work? bonus for a working-in situation?
Lessons in schools take place with up to 40 pupils, lessons A specially important question: Are there schools who
with 12 to 18 children, double lessons with half or a third of engage teachers—especially the eurythmy teacher—with-
the class, and also lessons with individual pupils. Then there out educational training or experience?
are lesson in which much has to be arranged and explained, Furthermore, the basic eurythmy trainings are unable to
others, in which the pupils do a lot of writing, reading or lis- advise eurythmists to join a school demanding an over-high
tening (these include many in the upper classes, where set- number of hours.
work and exams are written. Here the question of time crops Time is pressing! The materialistic measuring of time is on
up, regarding giving corrections and marking, that has to be the increase. We have to resist this. Eurythmy in schools is
taken into account). not to be pushed out; eurythmists must not to become
Again, there are lessons in which the teacher teaches dai- drained because they apparently achieve “less”!
ly the same pupils and is involved with only one age-group
(class teacher). In other lessons there is an hourly change of
class as well as the age-group (music, eurythmy, sports, and,
to a limited extent, foreign languages). Here there are lessons Eurythmy Training in Sekem
which return 2 to 5 times a week and thus involve less class-
es (foreign languages), and such which occur 1 or 2 times, Christoph Graf, Sekem (Egypt)
thereby including 10 classes or 9, and as many as 16 groups.
Last but not least there are lessons with much movement, If you drive from Cairo on the desert motorway eastwards
where not a moment of calm viewing or overviewing the towards Sekem, you soon meet the last hillocks of the great
class can take place (eurythmy, sports), and also those where sand-dunes. The wind blowing over them continually
the pupils can work on their own (handwork, drawing, gar- changes their forms, so that they look quite different every
dening). day.
Apart from eurythmy, there is no other subject in which it The same blue sky is there every day. Each morning when
is necessary for the teacher to move with the pupils, at the you get up you know that the sun is shining. This is a picture
same time speaking, directing the movement, completely of how the people are here. Their hearts radiate joy and
engaged without a moment’s rest. Between lessons he is to friendliness, always untroubled. But life-circumstances are
adjust quick as lightning to different age-groups from 3 to 18 daily new, different from yesterday, always full of surprises.
years old, possibly also the changing of dress is to be includ- So too, our small eurythmy training, the Sekem-Art-
ed. All this is called one lesson. Are such time-units—mea- School, has continually changed during the 27 years of its
sured by the school clock—the same? Obviously not! existence. Many students have come, and (especially the
Each of these units which take place during one school- women) often for family reasons leave. The inner structures
lesson have to be differently evaluated regarding the change continually because they have to correspond to the
teacher’s achievement (this point of view does not exclu- turbulent life of the whole Sekem initiative. Yet a “solid” core
sively concern eurythmy). What does the special needs of students is there, four men and two women who with great
teacher have to achieve, who is with the children daily for up enthusiasm and total committment pursue their studies.
 R E P O R T S
34

At the moment still a department of the ‘Sekem Academy great social and community-building experience; for many
for Applied Arts and Science’, we have just become a prelim- a deep and decisive experience. We worked for two years on
inary stage of the University, where art, speech (drama) and the Arabic translation, ever revising and starting afresh, but
eurythmy are combined. This summer in many discussions we were encouraged by Goethe’s love for Arabic, which he
and meetings with a Professor for Evaluation Technique from could also write.
the University in San Diego (U.S.A.) we have worked out a Now with Faust, we are daring to step out into the chaos of
new evaluation system making it possible for the eurythmy Cairo, which boasts a rich theatre-life, and we hope with
tutor to evaluate quite objectively the students in movement Faust to bring to experience the striving human being, espe-
and the theoretical subjects, without being influenced from cially to the living centre of the University of Sekem.
personal impressions and feelings. The students keep an
extensive diary, and at the end of each term give a talk on the From “Mitteilungen 2005
worked-on material which also has to be submitted in writ- der Akademie für Eurythmische Kunst Baselland”
ten form. Alongside the tutors in all subjects the whole teach-
ing collegium of the Sekem School is present during these
talks, because our students together with all the teachers
attend the further-education training (daily one hour). In this Goethe’s Faust in Arabic
way they learn to speak in front of a relatively large audience
report of an experience
of around 80 people. We tutors also write up every lesson we
give, both a written preparation and a report with remarks Sandra Bloch
whether we really did achieve what we intended.
All this may initially appear as a “paper war”, but you Twelve days before the performance, I landed in Cairo; the
realise quite quickly that the lesson becomes much more sky a deep blue; everywhere in the streets mobile stoves are
effective and that quite a broadening of consciousness aris- standing out of which smoke and sizzling arises; colourful
es with both student and teacher. lanterns decorate the shops in which men in their long gal-
We are on the way really to achieve “university status”. The abyas sell their wares—it is Ramadan. Shortly after 5 p.m. the
motto of a university is research and teaching. This “research period of fasting is interrupted. After the first prayer people
work” of the students together with the tutors takes place can again eat, drink and smoke, up till around 4 a.m. when
quite modestly in the “applied” eurythmy, for all the stu- a new day of fasting commences—and this lasts a whole
dents teach eurythmy in the [Steiner-Waldorf ] school—of month. So it is not surprising that my driver who picked me
course, with the help of the tutors, yet still relatively up at the airport nods off for moments at the wheel. After an
autonomous. We are fortunate that all the students are qual- hour’s drive through the desert on unlit roads, I alight safe
ified teachers, mostly from the University of Zagazig, and and sound in Sekem, my suitcase full of last-minute props
thereby already have a background in education and partly, for Faust—“sweatpads” for the eurythmists, artificial flowers
too, some educational practice. for Gretchen, with petals that can be removed and replaced,
Our training runs so to speak along two tracks: artistic for “he loves me, he loves me not”, and a poodle-head I had
eurythmy and educational eurythmy. In this way from the sewn three days ago.
beginning the studies and the working in life are closely con- Next morning I was awoken by the prayers of the Muezzin
nected. The students are also given the opportunity besides from the neighbouring mosque. The first eurythmy
the school to pass on what they have practised in a simple rehearsal for Faust begins. At home I had already studied the
changed form as “eurythmy in the workplace“. In the seven Arabic text, and the forms and gestures—these I could jetti-
major firms of the Sekem initiative over 1500 people work. son for the spoken Arabic text was spoken much quicker
Eurythmy—something also more like rhythmic-gymnastic than I had practised.
exercises—helps them to work more easily and with more The eurythmy rehearsals were not by any means every-
joy. In this realm of work there is a meeting of physiothera- thing. Some props were still to be found. Faust still needed a
py and sport activities, where people competent in their hat, Mephisto a head-piece, an ink-well had to be modelled,
domain collaborate. a quill had to be made, the guitar built and stringed, daggers
Each term a great artistic project in undertaken. From May smithied. Even the scenery was not yet ready, and for the
to November 2005 we were occupied with Goethe’s Faust. lighting 30 bulbs had to be replaced. The eurythmy dresses
The professional Sekem Drama Ensemble has rehearsed had to be fitted, completed and ironed. And in addition the
with our Arabic speech artists and the speech chorus Rat had to be finished, who completes the pentagram for
(trained for years by a German speech artist) has rehearsed Mephisto. For this a eurythmy student jumped in at short
under my direction First Part entire in six months. With the notice, who also played the Poodle, as well as the Pupil (as
eurythmists and students we formed all the eurythmy an actor, of course). In Egypt this is no problem, for every-
scenes: body helps. The neighbouring town was involved in the
Prologue in Heaven, Spirits in the Study, the Witches’ preparations. Craft teachers and co-workers from the Sekem
Kitchen, Walpurgis Night and also the smaller solo roles like school, which one week before the performance were asked
the Earth Spirit, the Poodle, the Rat, etc. All the costumes and for the music, specially composed for the Arabic Faust pro-
dresses were made by us, and all the scenery and props were duction. At the dress rehearsal everything was there, except
produced under our directions. In this way everyone was Gretchen, who was ill. On the evening before the great day,
responsible for everybody and everybody for each individ- the plan for the scene-changes was worked out—who
ual. Besides the artistic experiences or even to stand on stage removes and replaces what and when on the stage.
after a short period of study, the whole undertaking was a For us Westerners all this sounds chaotic, improvised and
 R E P O R T S
35

unprofessional. But this is not so. The work becomes much and the academy was set to begin, my initial excitement
more intensive through this. Everybody is involved whole- began to turn to apprehension as I asked myself, “Am I really
heartedly, and not only for his own role but for the whole devoting my entire summer to eurythmy, something I haven’t
concern. Everybody is involved with the whole, is awake, done in four years?” But I put my apprehensions aside and
interested and helpful. dove in with an open mind and heart, and now am so thank-
Through this the whole thing gains a fullness, a greatness ful that I did.
and warmth which is more than professionalism. In the end, Performing in Dornach on the stage of the second
we were around 28 participants on or around the stage—and Goetheanum was utterly moving, thrilling and inspiring. To
still approximately three times as many were involved in the move in and with the space in which eurythmy was born and
preparations—who were fortunate to experience Goethe’s has been performed for 90 years was truly a gift and an honor.
Faust in Arabic in Egypt. It was wonderful to pour ourselves into a performance and lat-
er hear from those that came to see our performance that our
From “Mitteilungen 2005 enthusiasm,vibrant joy and passion for eurythmy was not only
der Akademie für Eurythmische Kunst Baselland” inspirational for them, but also shared with them the youthful
and positive spirit of the United States of America that today is
lost in the overwhelming shadow of war and over-consump-
tion.Using eurythmy as a tool and a voice,we were able to share
Eurythmy as a Bridge to the Future with an international group of our peers the enthusiasm and
joy that we shared as a group of young performers, and as
Summer Eurythmy Academy 2005
ambassadors for both the northern and southern Americas.
Courtney Lipscomb, USA In short, the summer academy gave me more than I ever
could have even hoped for. It provided me the opportunity to
This past summer, for three intense weeks in July, thirteen reawaken parts of myself that for so long had silently been
graduates of Waldorf education joined for the second Sum- longing to revisit and envelope myself in movement, speech,
mer Eurythmy Academy, held in Austin, Texas. Under the tone, and color. And yet I was not only able to rekindle my
guidance and direction of Markus and Andrea Weder, eight respect and love for movement and all the other elements of
students from Austin, Texas and five from Sao Paulo, Brazil eurythmy, but also was able to being forming a new and deep-
spent their days singing, painting, and learning about, doing er relationship with the world that as a young adult I am now
and otherwise living eurythmy. They presented their stellar finding my place in through our meditations on and studies
work to a full house in Austin before traveling to Switzerland of anthroposophy. It was an amazing experience to not only
to perform at the Goetheanum during the International bring my own life experiences and current self to eurythmy,
Youth Arts Festival, organized by the Youth Section. There, but also to discover and reconnect with those that I shared the
they were warmly and enthusiastically received, earning a academy with.We began a group of individuals from two sep-
standing ovation from the audience. arate continents of varying ages and life experiences, and over
What led these young people to engage in such a monu- the course of the summer, formed a community, each bring-
mental exercise? To be sure, eurythmy in any form is intense ing to the group his or her own experiences, passion, and joy.
work that demands a commitment to dig deep into one’s I am eternally thankful for the opportunity to participate in
own soul life. Indeed, one might say that the choice to be the SEA 05 and will cherish the memories, experiences, rela-
immersed for sometimes 8 hours a day in a craft that tionships and joy that it nourished into the future.
requires so much from the participants must come out of an
almost irresistible impulse.
The reflections of one student shed some light on just
what might draw a young person to such work. Away from
Waldorf for four years and having completed an undergrad- Report on the Goethe’s Fairy-tale Project
uate degree, Ani Hanelius represents the student in the acad- of the “eurythmie ensemble hamburg”
emy who had been away from eurythmy the longest before
responding to her impulse. Silke Weimer, DE-Hamburg
I applied to the Summer Eurythmy Academy sort of on a
whim. In the midst of wrapping up my senior year in College, In the beginning was an idea, sparked off directly from expe-
writing final theses and saying goodbye to dear friends, I saw riencing a performance of Goethe’s Faust at the Goethe-
returning to Austin for a summer of Eurythmy as a healthy anum in summer 2004: “Now it’s time for the Fairy-tale”
way to digest the past four years and return to a form of move- There are various works which I “need”, so to speak in cer-
ment that I had been lacking during my time in college. My tain rhythms—comparable to the seasons: Mozart’s The
expectations for the summer were simple: to rekindle my rela- Magic Flute, Bach’s Christmas Oratorio, Schubert’s Winter-
tionship with the type of movement, reflection, and physical reise… and some others, including Goethe’s Faust and his
and spiritual awareness that Eurythmy could inspire, rekin- Fairy-tale.
dle relationships with old friends and teachers, and perhaps At that time I did not think about us—the “eurythmie
make some new friends as we explored a summer of euryth- ensemble hamburg”. We were then busy with our work on
my together. I also was intrigued by the amazing opportuni- the Foundation Stone and preparations for the next Grimms’
ty to travel not only to Dornach and the motherland of Wal- fairy-tale for children. For a few years our work was regular-
dorf education but to perform in the Goetheanum, the birth- ly filled with these two themes, which we had so to speak tak-
place of Eurythmy itself. And yet once the summer arrived, en over as a “legacy” of the “Eurythmie-Bühne Hamburg”.
 R E P O R T S
36

Now back to Goethe’s Fairy-tale: Carina Schmid sponta- After 7 weeks the autumn holidays arrived, most ques-
neously suggested a co-production of Dornach and Ham- tions concerning “form” were roughly clear, and we dared a
burg eurythmists. But this was soon shown as unrealistic. So stumbling run-through. Then a rehearsal week took place,
she encouraged us to try it in Hamburg, which I had first including common mealtimes. By “chance” Werner Barfod
thought impossible because I knew for this an ensemble of had offered his support just for this week, so he worked
at least 15 eurythmists would be necessary, not considering intensively for three long day—on the one hand with gener-
their artistic experience. Our ensemble consisted then of 4 al themes such as fashioning a sentence gesture, the colours
eurythmists and 2 speakers; it was supported according to of the 6 speech-gestures, characteristic ways of fashioning
the project’s demands by other colleagues. The idea did not the individual roles, and on the other hand, quite concrete-
leave me; I shared it in a small group and it immediately ly on the text.
caught fire. This was in autumn 2004. So (in our heads) we After this phase of condensing the text, almost the char-
had found a “dream team” and a rough timetable was quick- acter of an exam, it was not easy to get used to the “everyday
ly drawn up: a first meeting before Easter, three intensive rehearsals” again. We also came to our first serious crisis
working weeks until the summer; from August onwards a which came about through the last—unfortunately neces-
weekly rehearsal; an intensive week during the Autumn hol- sary re-casting. Many things that had been practised disap-
idays; premiere in February; tour during the Hamburg peared, the ensemble was hardly ever present complete…
spring holidays; end of the project at Whitsun (Pentecost). The prospect for a second rehearsal work with Werner Bar-
This timetable although quite tight seemed realistic but in fod for the middle of December helped to overcome this
the casting we had to cope with many ups and down and arduous time. With goodwill and engaged practice, the
agreements and cancellings hither and thither—right into waves were calmed.
the rehearsal period. Of course, in Hamburg there is no Telephone/Fax (organisation) and sewing-machines (cos-
dearth of eurythmists, and yet finding the right people for this tumes) ran full throttle. In this way before Christmas (again
project was one of the most strenuous stages on our path. The with intensive help from Werner Barfod) a further intensifi-
more encouraging during the course of the work to experi- cation was achieved. The rehearsal times became ever
ence ever more strongly that the group is right. Many hidden longer and the run-throughs (at least of 1st or 2nd parts)
talents were discovered through “unplanned” re-casting. stood in each rehearsal plan.
Beside diverse preparatory meetings in a smaller group, In the new year we concerned ourselves more intensively
there stood at the beginning of our work a study weekend with music eurythmy, once again over a weekend, this time
with Thomas Göbel, where we were mainly concerned with with Carina Schmid. So the pieces of music too gained in dif-
the individual characters of the Fairy-tale. Initial artistic ferentiation the one hand, and form on the other hand. Run-
interpretations (colours, soul-gestures…) were addressed. throughs-/stage-/costume rehearsals followed… “On the
Then until the summer, three intensive practice days took side” the organisation of the performances and the tour, the
place, where we become eurythmically acquainted (each of design of the posters, the programme booklet, etc., had to be
us met at least one person for the first time). We practised dealt with—a work-intensive phase. And slowly the end
various basic elements—partly also with music—and always approached. Then yet more tasks had to be fulfilled…
led by somebody else. Between tis we ate in common and Now we face the premiere. When this Newsletter appears,
entered discussions on the work and organisation. most of the performances will be behind us. It is still too ear-
The work in eurythmy was directed increasingly to the ly for an evaluation, but on the way we have received much
concrete expressive possibilities of the individual charac- help and encouragement. This gives us courage and strength
ters: How do we differentiate the stepping – tempo in the to take the next exciting steps.
movement – dynamic zone – sphere – head position...? What
are the characteristic sounds – soul-gestures...? We took e.g.
“Behold yourself, behold the world” and varied and differ-
entiated this exercise in many ways. How does the Ferryman Snow-White and Rose-Red
do this, and how the Will-o-the-wisps? etc.
Alongside this a lot of organisation work had to be done, a Annika Lamerdin, DE-Stuttgart
budget had to be made, many letters asking for donations
were written, initial performances were agreed; some agree- In the Fairy-tale Stage Group of the Eurythmeum young
ments and cancellations enlivened this exciting phase. eurythmists meet each year in order to work artistically. The
Already in autumn (04) Peter-Michael Riehm had agreed to work focusses in rehearsing a fairy-tale, in addition to a piece
compose the music for this project. For health reasons, this of music or a text in eurythmy for an evening programme,
did not transpire. A long exciting process led us finally to and, especially for the yearly festivals, there are always small
Debussy, whose Préludes VIII, X and Première Arabesque projects with the Else-Klink-Ensemble.
completed the programme. After the summer break the actu- This year we decided on “Snow-White and Rose Red” of
al rehearsals began in an intensive weekend. We met since the Brothers Grimm. The premiere was in the middle
then usually once a week – this is not much time for such a November in the Eurythmeum to a full house, and many
comprehensive project demanding concentrated systemati- children and adults entered with enthusiasm into the world
cally structured rehearsals. Between whiles rehearsals con- of the fairy-tale. “Snow-White and Rose-Red then went on
tinue on your own or in groups. It was always encouraging to tour till July 2006, in order to perform in schools, places to
see when a passage had grown over the week in a mysterious those with special needs, and nursing homes.
way. Unfortunately the opposite also occurs, that something At present we are in the midst of preparing for the evening
which was there gets lost again—both belong to it. programme, with amongst other things the chorus of Father
 R E P O R T S
37

Wind, Mother Frost and Brother Fog from the Drama “Der Eurythmy Meetings
Gesang im Feuerofen—The song in the fiery oven” by Carl
Zuckmayer, and Preludes by Debussy. Johannes Starke, CH-Zürich
The members of the Fairy-tale Ensemble organise the
tours independently, travel with what we call the “Fairy-tale Since November 2001 there has taken place in the
bus” to the performances, design the posters, the staging, Goetheanum during late autumn and early spring regular
the dresses, etc. So we experience just how much work lies eurythmy meetings aiming to offer small eurythmy groups
“behind” eurythmy before a performance comes into being. a platform to show on the one hand their special pro-
Yet it is through engagement of every member of the ensem- gramme, and on the other hand to discuss it with other col-
ble for “our” project for which we willingly get to work. leagues. And so the introductions into the methods of work
In early summer we fly into the wide world. We are invited of a group and the discussions over what we had seen was an
to Israel; a further week is planned in Ireland, for which we essential element of such a weekend. In the time of “so-
have to rehearse “Snow-White and Rose-Red” in English called situation of change” within eurythmy—already con-
eurythmy. jured up long before the millennium—with this meeting
In this way the time in the Fairy-tale Ensemble is very Werner Barfod offered the possibility that artists present
busy; a lovely year full of changes, and we look forward to their eurythmical concerns and could also enter discussion
every performance with an audience of colleagues. Many-sided programmes
enriched these meetings, giving an extensive picture of
stage-work not only in German-speaking lands, but also in
Sweden, England, Holland, and even Japan. Through
Symphony Project U.S.A. 2005 glimpses into the workshops to the opening up artistic ques-
tions pertaining to the respective performance were pre-
Claudia Lasnier, DE-Neckarhausen pared on different levels, and then, with the presented crite-
ria, could be discussed.
I still pleasantly recall the encouraging response in the Eury- The last of such meetings took place on 18th/19th Febru-
thmeum, Stuttgart, after the U.S.A. tour with the Symphony ary 2006. The Eurythmie-Studio LuLa was invited, founded
Programme in 1978. At that time I was just beginning my in 1998 in Yokohama though already with 12 years of inter-
eurythmy training in the Eurythmeum. Twenty-five years national tours behind it and in 2003 has begun a training.
later the idea links on of a Eurythmy tour through the U.S.A. Alongside the Goetheanum Stage offered an open rehearsal
with a symphonic work, this time concentrating on Dvorák’s of the second and third movements from Mozart’s Piano
Ninth Symphony “From the New World”. Concerto No. 24 in C minor. The programme “Hana no
Marke Levene, eurythmist and producer, was taken with Hashi” was a unique “bouquet”, consisting of a fairy-tale
this idea during a concert and this quickly changed into an whose free modern rendering as the soul’s response and an
enthusiastic impulse. Dorothea Mier was artistically respon- ending with music for accordion by Toshio Hosokawa. Yuki
sible for the musical work, Annelies Davidson for the speech Matsuyama (eurythmy) und Yoichi Usami (eurythmy, speak-
work. The Ensemble Eurythmy Spring Valley formed the er and sound-effects virtuoso) enchanted us through the
eurythmical foundation with Jim Papoulis as conductor and variety of their possibilities of expression and their fascinat-
composer. ing stage-presence. In the introduction, they pointed out
Lemniscate Arts, an organisation whose impulse it is to and helped us to experience through an exercise that the
foster thee anthroposophical arts, especially eurythmy and Japanese language does not consist of letters,but rather
the art of speech in their realisation as stage arts, took on the groups of sounds, completely pictorial and on different lev-
organisation and the financing. This was supported in many els of experience. That which with earlier eurythmy meet-
ways by institutions and friends of eurythmy. ings was already theme, that is, the presence of a speak and
The workshop during the summer 2004 led by Dorothea sometimes of props on stage, was here felt as completely
Mier in Spring Valley was the artistic beginning. From the integrated, right up to a tasteful costume change.
Fall 2005, 32 artists of 11 nationalities met for intensive eury- This almost entirely solo programme contrasted with the
thmical working weeks. group production of Mozart’s Piano Concerto. Elements
The fruits were visible on the tour in September and Octo- from the rehearsals were shown and explained, e.g. the pass-
ber 2005 right across U.S.A. and Canada and enthused many ing on of a musical theme by an Instrumental group to
people. What rich experiences for the participants was another group or the dialogue of piano and orchestra. To the
beyond price. This project is also invited to the Symphony- slow movement, Carina Schmid referred to a saying of
Week in Summer 2006 to Dornach. As a member of the Rudolf Steiner, reported by Elena Zuccoli, concerning
Ensemble, I look forward as somebody from Europe, that colours for the intervals, with the keynote red and then lead-
this is possible despite the great effort, and I hope to enthuse ing the scale via yellow green and blue up to the seventh in
and touch the people here, too, with the living eurythmical violet. This was clearly visible, when two groups showed in
presence. an exemplary way the two sequences of movements at the
same time and then also within a motif showed these con-
The only performances in Europe are: trasting levels. What seen purely externally seems like a con-
Wed. 26th and Sat. 29th July 2006, 7.00 pm trast and could neutralise each other, can be mutually fruc-
Great Auditorium, Goetheanum tifying since it arises from completely differing realms.
Orchestra: Gnessin Virtuosos, Moscow With such a rehearsal situation further expectations were
The Programme includes works by Dylan Thomas. awoken, as with the successful Eurythmy Symphony Tour
 R E P O R T S
38

placed into the cultural world two years ago. We may hope «...Durch alle Wesen reicht der e i n e Raum
that through this a change in the attitude towards eurythmy Weltinnenraum. Die Vögel fliegen still
will take place. Also the “Eurythmy for all” conferences, Durch uns hindurch. 0, der ich wachsen will,
which takes place for the third time after Easter, are steps in ich seh hinaus, und i n mir wächst der Baum...»
this direction, likewise the series of eurythmy meetings. from: “Es winkt zu Fühlung…”
The meeting this year, as the last, could not be more con-
trasting in its extent, in encompassing the eurythmical pos- [Literal prose rendering: “Through all beings, the ONE
sibilities of solo as well as choral presentations, of speech space, world inner-space, is reaching. The birds fly quietly
and music in quite a special form, and the international ele- right through us. Oh, I who want to grow, I look out and IN
ment as a sign of development and Middle Europe as the me there grows the tree...” from ‘Spring is waving’.]
source and point of departure. In this way a span of euryth-
mical works of art finds its conclusion. Warm thanks to That which we discuss in such a way in our Section meet-
Werner Barfod for the initiative, for carrying it through also ings we attempt to deepen in our meetings on the regional
in the very tight financial situation, and for the perseverance level and make fruitful according to our working situations.
of all participants making possible a rich variety of euryth- A final remark to the “we”. This group sees itself as a working
mical movement and experience, a mutual perceiving and connection, in which every individual intends to work in a
fruitful discussions. Real meetings took place which take committed way. Whoever so far has had no opportunity but
effect right into the field of activity of every individual and would like to join, please contact our Section.
from there into the wider community.

My happiest time playing for eurythmy

was in the Steiner-Waldorf School, Bothfeld
Report from the “Working Group for Hanover, for the pupils from Class 1 upwards.
Artistic Speakers and Actors” Stimulated from a Conference, I give her a
glimpse into my teaching activity.
Ute Basfeld, DE-Eggenstein
Elvira Jeger, DE-Hannover
The working group for artistic speakers and actors met for
the first time in May 2004. How did this come about? Pro- How did this arise? For many years eurythmists, musicians
ceeding from the fact that on the one hand for the thera- and players for eurythmy met for an intensive working-con-
peutic speech practice conference in autumn, for years more ference in Kassel.
than a hundred people have taken part, yet on the other As a pupil, I became acquainted with playing for eurythmy
hand in the realm of artistic speech and drama it has become in many ways, and in Kassel many problems were discussed
very quiet, in January 2004 for the first time a meeting took in a polonium situation. Accompanying? No! This I never
place where artistic speakers and actors from the various wanted to do.The endless repetition of the pieces for the eury-
realms of work were invited. In May 2004 this working group thmy exercises, the interruption of the music, pauses that put
was founded consisting of 10 to 15 artistic speakers and you to sleep, every half an hour into another class, etc. No, not
actors, who aim for a continuing work on the level of Section for me. And yet it happened that during a polonium it hit me
work with Werner Barfod and Agnes Zehnter from our Sec- like lightning: Why don’t you do it?! It was February, with snow,
tion. The foci of these meeting taking place roughly three and I walked with this new thought in the break through the
times a year are: snowy wood. I could hardly grasp the experience that was
– topical discussions on the phenomena of our time per- strongly in me. During my homeward journey, surprisingly, a
ceived in the daily work, player for eurythmy sat in my compartment in the train, who
– questions, discussions, observations to Lecture 6 of “The told me of her way of accompanying. She did not play the
Mission of Michael”, especially of “air-breathing—light- piano, but brought the lyre and some Orff instruments. This
breathing” was a confirmation of my experience, which in Hanover did
– working on concrete descriptions of the profession by the not give me peace. So I confided in a eurythmist who invited
participants, me to her eurythmy lessons. Then things became serious.
– reports from work of the Section, the situation of the When, shortly after this, the second school in Hanover, still
Goetheanum Stage and other relevant points, within the rooms of the mother school, took up its activities,
– discussion with regards to the possibility of establishing I was asked whether I would not take on playing for euryth-
Section work. my there. And I answered “Yes”. The newly employed eury-
A centre for each meeting would be formed by exercises in thmist was happy that I wanted to play the lyre. In this way,
perception for seeing, hearing, speaking, and a discussion besides music teaching, there opened up for me another
concerning this, in how far each sense-perception means path into school life. We introduced eurythmy dresses and
today a mutual relationship of the soul between human the possibility also to allow pupils to accompany. In those
being and world, between inside – outside – inside. Inn order days there was a book by Alois Künstler with pieces com-
to become aware of these sensitive perceptions of object – posed for pupils who play for eurythmy: “Kinder spielen für
subject – object, there also belongs the finding of those expe- Kinder—Children play for children”. We began already in
riences in the works of poets, for example with Rainer Maria Class 1 with learning how to play on the kantele. In this way,
Rilke: with little pieces and songs we could already play for eury-
 R E P O R T S
39

thmy. One half of the class made music and the other did how lovingly the miller’s wife adored the child in the “box”
their little dances and exercises. Then they changed. We also which we could only guess – and the told story. (In a work-
had recorders, drums and other small elementary instru- ing-group later one could establish how difficult it is to cre-
ments. I was able to communicate with the pupils, quickly ate the mood.)
because we had something like secret signs or formulae, e.g., After this we saw a sprightly version of “The Wolf and the
on the 7-string kantele or children’s harp, we had ‘a’ as the Seven Little Goats” in Swiss-German by Christoph and Silvia
middle note from which we played the fifth downwards back Bosshard. The stage had three levels; texts were spoken and
to the ‘a’ and the fifth upwards, returning to the ‘a’. We called dramatised alternately. I still see the quiet, thoughtful Moth-
this the big lemniscate. With fourths from the ‘a’ it was the er Goat listening at the door and straight after the Wolf run-
‘middle lemniscate’ and the seconds around the ‘a’ formed ning along with his joyfully trembling tail, full of haste, greed
the ‘little lemniscate’. Suddenly some pupils discovered that and unintended jokes. Later, singing in high notes pretend-
the letters on the blackboard could be played on the kantele: ing to be the ”iebi Müeterli – dear little mother”, he was ter-
N, W, M. For example, the movement in writing the N ribly funny and tragic at the same time.
became the movement of the playing – from the dark notes On the next day Christel Oehlmann showed a few slides
to the light ones, back to the dark ones and again to the light from the fairy-tale “The Pear Tree” and reported from prac-
ones. Every lesson the children discovered new possibilities tice. Consciously holding back in the presentation demands
and some tried at home new forms which they played for us. the audience’s own activity. This simplicity is often the fruit
So in the eurythmy lessons we were able to communicate of long work, not the beginning! In one production only one
quickly and approached very close to small spontaneous colour was shown to the children for the different presenta-
improvisations. Since we still had to wait a long time until a tions, such as castle, meadow, and sea, later supplemented
pianist arrived, Class 4, 5 and 6 played for the eurythmy in a working together.
lessons on lyres, recorders, xylophone, fiddles and gambas. Stefan Libardi showed as a solo the creation of the world,
We met as an orchestra and could prepare pieces for eury- according to Ovid’s Metamorphoses. At the beginning he
thmy. Often I had to notate what they had found at home. We climbed out of a grey, tent-like structure; fixed on to it were
used this in a play for Class 5. When we then had a pianist to wonderful shimmering coppery fishes, taken them away
play, I played for the first three classes. when the flood came. With much Austrian humour one pic-
This intensive time with music and accompanying when ture after another arose. As a final item, we saw parts of “The
my husband for professional reasons had to move into the Little Prince”. Besides a simple stage – the main scenery is
Rhineland. For four years I worked in the Johannes Schule desert – sat a Saint-Exupéry with a delightful French accent,
Bonn, a school for special needs pupils. Alongside my inde- speaking for a capricious eurythmy rose-lady. A very poetic
pendent activity in music therapy and chirophonetics, I mood arose, and each of these pieces of wisdom which one
have been playing for eurythmy in the Freien Martinsschule believed one knew, are newly embedded in this production.
Hanover, a school for children with special needs. The light- The acting of a life-sized Prince continued seamlessly, and
ning in Kassel had hit me in a deeply transforming manner. then again the playing together of the Pilot, now with the
Prince led as a marionette. Silvia Escher, Beata Lüchinger-
Dessecker, Isabelle Julienne (eurythmy), Dagmar Horst-
mann (marionettes), Françoise Retailleau (acting), Jürg Gut-
Puppetry Working Conference jahr (music). What a couple of years ago was being dis-
cussed, how far a player should be seen or whether he should
20th–22nd Jan. 2006
rather disappear behind box-shaped stage, is no longer a
Gudrun Ehm, DE-Bad Liebenzell question. Spiritual leadership becomes ever more conscious
to the human being; one sees this right into puppet-playing.
“How do I awaken the inner picture?”—this was the question The quietly told fairy-tale presentation, story-telling with
for about 40 puppet-players, who this year met again in the illustrating figures as it still took place in Rudolf Steiner’s
Holzhaus at the Goetheanum. Already in the first evening we time, is now transcended. In a lively technique of changing,
were led through the various presentations. First, Ursula the drama alternates with the pure text.
Ohlendorf told Grimms’ fairy-tale “Rapunzel”. You could see, In the morning Werner Barfod worked with us in euryth-
arising clearly, the wall over which the man had to climb into my with a picture of a stormy night in the mountains, by A.
the garden of the witch. A delicate dialogue arose between Solzchenitzin. This needs time and is to be practised! So we
the listeners and the story-teller, where through their own repeatedly “crept out of the tent. At another time, gestures of
activity each person could produce their own individual pic- craftsmen were developed, right into eurythmical sounds.
tures. Then Monika Lüthi showed the same fairy-tale as a Before another meeting, I will finally learn to sweep and to
table-puppet play with woollen figures. Cloths and a sparse sow! One could also see in a light moment, who had ever
stage-set were kept in soft plant-dye colours. She alternate- baked bread or not.
ly played and spoke, in dialect. The witch was impressively How is it possible for children/ young people today to co-
accompanied by the sound of an African Kalimba. The song fashion the world? In harmony with himself! What one meets
of Rapunzel was hummed. A calm and inward mood arose. is: “the world is finished” – “there is nothing more to create”.
A section from “The King with the Three Golden Hairs” fol- Jobst Langhans, Berlin, developed his contribution on inner
lowed in quite a different way. In contrast to Gabriele Pohl and outer pictures from quite another angle. He spoke about
and Margrit Gansauge dressed in black (also with a black films and television. Prefabricated illusory pictures cover up
backdrop), the king stood out as an energetically led hand- my own activity. What the camera can show, e.g., people from
puppet. The play quickly alternated between played scene – behind and from above—this is only possible in an excarnat-
 R E P O R T S
40

ed condition. The film simulates something which is only pos- living place of activity is to be provided, which is worth imi-
sible through spiritual schooling. Out of a longing for pictures tating, one in which children can meet what is essential. The
one can understand the fascination of the media. The ques- awaking senses take up immediately the moral gesture with-
tion is: How do we become better than the best in our realm? out analysis. Less what is attractive, more what is gracious,
In anthroposophical initiatives mediocrity realms. (A sigh was less the facts and more the semblance—these give nourish-
heard amongst the ranks of teachers.) ment for their development. Without wanting to be exposed
Since the C15th human being are bringing out of the realm to direct address, they seek for mediation which delicately
of pre-existence a lack of pictures, and as a consequence are and with consideration respects their budding thinking and
developing an especially strong intellectuality. But today finds in the pictures of fairy-tales the pure but restrained lan-
people are again bringing experiences which have to be guage which they needs in order to digest reality, to be able
raised up Imaginatively. Otherwise these forces are played to dive freely into the warm stream of their own imagination.
out in the social realm in battle and terror. “The heaven in Playing fairy-tales faces the task to become the mediating
man, which is held back, revolts.” role, not only in filling time but of ennobling time, between
How then do I become better than television? How can the the content of the fairy-tale pictures and this openness of
consuming onlooker be released out of his imprisonment? children. After the choice of a suitable fairy-tale and the
We cannot rival in perfection, so it can only be in another working on its content, the puppets have to be chosen.
direction: into everything that calls up people’s own activi- The course chose standing puppets made of plant-dye felt
ty; to seek dialogue. Play can open spaces. In conversation, for the fairy-tale of “The Sweet Porridge” (Grimm) and for the
something higher can arise. Plato’s Symposium was men- other simple marionettes (without cross-pieces) made of
tioned. To be bored, not to see everything filled, or not to plant-dyed silk for the fairy-tale “The Little Donkey” (Grimm).
know everything, does not need to be a bad thing! Already feeling the different qualities of felt and silk makes
For puppetry, this means a tendency towards reduction, the fashioning of the puppets a rich sensual field of experi-
the simple means. To hold the lower arm with the hand a ence. The one is alive and earth-bound; the other is airy,
straight: “There was once a man”; with rounded hand: “and wafting—both textiles demand a suitably skilful handling,
a woman”—Stefan Libardi impressively showed the results already in the pre-stage before the actual play, showing the
of his working-group. character of their use.
What indeed is imagination, mental imagining, and fan- The time it took to produce the puppets was an important
tasy? What gives wings, or what hinders access to this source preparation and made one acquainted with their speciali-
of forces? Do “counter primal-pictures” already exist today? ties. The choice of colours and their combinations demand-
The conference theme was repeatedly discussed, the ed a conscious perception of colour-nuances and their qual-
process was made visible. It will continue to concern us. ities, with regard to their effectiveness on the stage. In both
fairy-tales the moods of the individual characters could be
found in such a way without deviating with too many acces-
sories, or to limit the onlooker too much to the details.
Puppetry for Small Children Accompanying working on fairy-tales and their puppets
were exercises on the puppet-player him/herself. Raffaella
Report on the Study Course of the Study-Year for
Dondi in morning eurythmy-for-all the opportunity, to assist
Puppets and Puppetry at the Goetheanum
our own movements through a conscious placing in space
Bernd Guthmann, DE-Augsburg and a taking hold through different sound and verses to
attain a clearer expression of soul. Monika Lüthi led to this
Under the auspices of the Study-Year for Puppets and Pup- in speaking fairy-tales and their free rendering. It was espe-
petry at the Goetheanum from 1st to 4th September 2005 for cially exciting to experience how the different languages and
the course on Puppetry for Small Children about 15 partici- dialects of the participants here too could produce fine
pants from Italy, Switzerland and Germany met in the rooms nuances of the fairy-tales into different moods.
of the Rudolf-Steiner-Halde. On the programme under the Simple stage constructions provides the space for short pro-
leadership of Monika Lüthi and Carmen Acconcia stood the ductions of fairy-tales and experience of playing with our self-
rehearsal and creation of a fairy-tale with standing puppets made puppets. Especially the unrehearsed use and lack of ori-
and a fairy-tale with marionettes. entation gave sufficient opportunity to recognise that the con-
The different (back)grounds of experience of the partici- tent of fairy-tales first with a right movement of the puppet and
pants, who mostly came from educational or curative edu- the dynamic in the flow of the play; here was a great need for
cational establishments, quickly experienced through the rehearsing. Both kinds of puppets gave the impression that
talk by Carmen Acconcia on The Study-of-Man Aspects of the demanded in fact a polar manner of playing: the standing felt-
first seven years a concentration on a common theme. The puppets for the right lightness; the silk-marionettes for the
awakening of the senses, devotion to the world and the pure right weight. All in all, however, the many aspects became
interest in this early phase of development are an irreplace- clear, which are necessary for an adequate harmonising, in
able asset of children, who through imitation finally gain order to realise the ideal archetype of the fairty-tale and so to
those faculties that make it possible for them to fashion and be able to become the soul-nourishment for children.
to penetrate their bodily nature and achieve the basis for The whole course was impregnated with an inspiring
their earthly instrument. workshop atmosphere, which alongside the continuous
Connected to this is the repeated question of an adequate sewing offered much space to move and to get to know each
arrangement of the environment of children—not without other. For the gentle leadership and the many suggestions
stimulation, but also not overpowering. In what is offered, a the tutors are to be most warmly thanked!
 C O N F E R E N C E S O F T H E S E C T I O N
41

CONFERENCES OF THE SECTION

Eurythmy – in the Stream of Time 2 – 3.30 pm. Free initiatives

18th–22nd April 2006 at the Goetheanum 3.30 – 4.30 pm. Curative education La Branche: Adult group
Avignon/Lyon: mixed ages. Schaffhausen: Class 7
This Eurythmy Conference, though not limited to profes- 5.00 – 6.15 pm. Working groups
sionals nevertheless concerns the profession. It gives to 8.15 pm. Eurythmical presentation of the planetary seals
everyone—young and old, amateur and professional, stu- by Rudolf Steiner, realised by Elena Zuccoli. Pupils of Class
dents, friends and those who would like to become such— 11, Zeist. Eurythmy students of different trainings.
the opportunity to experience all kinds of meetings, new
discoveries and all kinds of further point of view with and Thursday, 20th April
through eurythmy. The theme of this week is the question of 9.30 – 10.15 am
training in education and self-education through euryth- Continuation of lecture series by Hartwig Schiller The mov-
my—Eurythmy as an art of life! ing power out of the ‘true pictures’ of the cultural streams of
The opening lecture is held by Dr Armin Husemann: “The humankind. The Gospels – Ravenna – the coloured-glass
musical essence of the human being and eurythmy”. In three windows of the Goetheanum
morning lectures Hartwig Schiller introduces the path of 10.15 – 10.30 am Presentations in music eurythmy by 2nd &
schooling of the human being today, as shown in the 3rd year students of various trainings
coloured windows in the Great Auditorium of the 11.15 am. – 12.45 pm Working groups
Goetheanum through Rudolf Steiner. For this reason, the 3.30 – 4.30 pm. Performances by Waldorf-School pupils.
eurythmy performance of the “Words to the Motives of the Budapest: Class 7. Stuttgart Uhlandshöhe: Class 5. Madrid:
Goetheanum Windows” by Rudolf Steiner will be shown Class 8
twice. Participants will enjoy Waldorf-School pupils from all 5.00–6.15 pm. Working groups
over the world, with examples out of the eurythmy lessons. 8.15 pm. Eurythmy Contributions by amateurs from differ-
An evening performance is dedicated to the contributions ent countries.
from adult classes. A performance of the Goetheanum Stage
with chamber orchestra and soloists will also take place. A Friday, 21st April
“novelty” is the contributions of eurythmy students from 9.30 – 10.15 am
fourteen eurythmy trainings. Continuation of lecture series by Hartwig Schiller The mov-
A lighter evening is given by the famous clown Dimitri. ing power out of the ‘true pictures’ of the cultural streams of
Numerous working groups and eurythmy courses offer rich humankind. The Gospels – Ravenna – the coloured-glass
possibilities for your own practice, to become acquainted windows of the Goetheanum
with the possibilities in every respect, meeting people who 10.15 – 10.30 am Presentations in music eurythmy by 2nd &
otherwise perhaps would not have taken place, and, above 3rd year students of various trainings
all, the possibility of joy. 11.15 am. – 12.45 pm Working groups
3.30 – 4.30 pm. Freiburg Class 10. Gent: Class 4. São Paulo:
Sylvia Bardt, Werner Barfod, Praxède Dahan, Hannah Kosk- Class 11.
inen, Angelika Storch, Karin Unterborn, Elisabeth Viersen 8.15 pm. Dimitri Clown in “Teatro”

Eurythmy – in the Stream of Time Saturday, 22nd April

9.30 am Course contributions of the contributors (discus-
18th–22nd April 2006
sion)
10.45 – 11.15 am. End of the Conference. Prospect, Sylvia
Tuesday, 18th April Bardt
4.30 – 6.00 pm. Welcome. Werner Barfod 11.15 – 11.45 am.
The Musical Essence of Man and Eurythmy “Words to the Motives of the Goetheanum Windows”
Dr. Armin Husemann by Rudolf Steiner Eurythmy/Goetheanum Stage
8.15 pm.“Seven Words”. Heinrich Schütz, Sofia Gubaidulina
Eurythmy/Goetheanum-Stage Subject to changes

Wednesday, 19th April

9.00 – 9.30 am. Presentation and artistic work of a basic ele-
ment of eurythmy by 2nd & 3rd year students from different Eurythmists in social, professional life
trainings
– a new professional qualification?
9.30 am. “Words to the Motives of the Goetheanum Win-
dows” by Rudolf Steiner Eurythmy/ Goetheanum Stage At the invitation of the Performing Arts Section eurythmists
10.00 am. Lecture Hartwig Schiller met twice at the Goetheanum in 2005 for working discus-
10.45 – 11.00 am. Music Eurythmy and Presentation by stu- sions. These eurythmists are mainly self-employed, active
dents mostly in cultural-educational and other social realms of
11.30 am. – 12.45 pm Working groups work. The first steps were exchange on professional experi-
 C O N F E R E N C E S O F T H E S E C T I O N
42

ences, the working out of problems at the work place, the Please keep this weekend free and celebrate with us!
possibility of meeting each other on the questions concern- For the collegium of the Akademie
ing the professional and increasingly important field of für Eurythmische Kunst Baselland
eurythmy. Beatrice Oling
From Friday, 23rd June 2006, 7:30 pm., till Saturday, 24th
June 2006, 6:00 pm., a weekend is planned, to create a wider Further information from the Sekretariat der Akademie
and richer possibilities of meeting for eurythmists, who are für Eurythmische Kunst Baselland
active in this realm of work. Apfelseestr. 9 a, CH-4147 Aesch
Through presentation courses, introductions and examples Tel. +41-61-701 84 66
from the work, perceiving in the doing – conversations and [email protected]
evaluation will be attempted in order to approach the fol- www.eurythmie.ch
lowing questions:
• Are there general basic faculties which eurythmists should
possess when they offer eurythmy courses for “everyone”,
with older people, certain professional groups, prisoners “The Sounding Present – Music from
or the socially deprived? all the World, Music in my Life”
• How for example can basic prerequisites be built up and
Music Festival from 5th – 10th August 2006 at
demanded for these fields of work as abilities? Interest in
the Goetheanum
the people; engagement; [strong] presence; courage for a
relationship of destiny; social abilities; abilities in speech; Michael Kurtz, CH-Dornach
ability to perceive; to become free in order to meet concrete Music in its reproduction through the media has today
needs; human faculty of humour; consciousness of self; reached all areas of life. Yet for the quality of the musical ele-
trust in one’s own abilities; how to give [take?] criticism; to ment a decreasing feeling is apparent, but just here we have
develop a culture of ‘working with mistakes; researching to develop a possibility of differentiation. In the world of
and learning, discovering ever afresh to connect oneself music despite diverging conceptions of music, agreement
with anthroposophy (study of man) and eurythmy. exists that in this art tremendous effective forces exist: great
• Preparation for a networking (older people / children / works of music touch us, hit us, give up-building forces. And
youth projects / vitalising eurythmy / eurythmy in pris- beyond the pure enjoyment of art, music has effects in the
ons, etc.) – Search for colleagues, analysis of the field of central realms of life in the soul and the human bodily
work, offers of subject courses nature.
• Active inclusion of this social-eurythmical realm as a task Our Performing Arts Section is organising as a public Sum-
of the ‘middle’, in the Eurythmy-Professional Conference, mer Conference from 5th – 10th August, a Music Festival
Easter 2007. “The Sounding Present – Music from all the world, Music in
Interested eurythmists, who wish to participate in the my Life”. These festival-days are not a normal music festival,
above weekends, please contact: but through daily theme bring to experience how music
Section for Eurythmy, Speech and Music becomes concrete in many fields of life, beginning with
at the Goetheanum attempts in sound-research with seeds and plants right up
Fax +41-61-706 43 17 to musical accompaniment for human beings on the thresh-
[email protected] old of death. The themes of the conference are: Music and
the earth; music in the religious life; music and the growing
human being (education); health and healing through
music; and music and the creative individual (art). Further-
80 years of Eurythmy-Training more, composers and improvising musicians of three gen-
at the Goetheanum erations from all over the world are invited, for whom
anthroposophy is the inspiration. And some of them have
(Isabella de Jaager, Lea van der Pals, Christoph Graf and the composed new works as a gift for the Goetheanum: Eve
Collegium today) Duncan – Australia; Wang Jue – VR China; Wolfram Graf, Got-
thard Killian and Christoph Stolzenbach – Germany; Gae-
23rd and 24th September 2006 in Dornach/Aesch tano Giani Luporini – Italy; Takashi Fujii – Japan; Filip Sande
– Norway; Heinz Bähler – Switzerland; Jay Sydeman – U.S.A..
Since we are unable to contact all our ex-students and During these Festival days they meet for a podium discus-
friends in person, we would like warmly to invite you to this sion amongst themselves and with the audience on topical
weekend. musical questions of today and the future. But only a mod-
At the Goetheanum a eurythmy performance will take place est part of the rich array of composition of the musicians
with students and tutors from the trainings. connected to the Goetheanum-impulse can find a place.
In the rooms of the Akademie für Eurythmische Kunst Basel- Thirdly, chosen work of modern and contemporary music
land in Aesch eurythmy courses are offered, with Annemarie will be performed amongst them in the Shostakovich cente-
Bäschlin, Christoph Graf, Dorothea Mier and others. In addi- nary, his magnificent piano cycle, 24 Preludes and Fugues
tion there will be time and space for meetings, exchange, op. 87, as well as Bartok, Gubaidulina, Haba, Pärt, Scelsi,
memories, and socialising. A large exhibition of photos will Stockhausen, Tavener and Ullmann. The well-known
recall the past stage history. Finnish composer, living in Paris, Kaija Saariaho, who in a
special way brings the colour of nature and the earth to
 A N N O U N C E M E N T S
43

sound in her music, will be present at performances of her in collaboration with may people: the Youth Section, the Sec-
works at the Goetheanum. Furthermore, we are happy to be tion for Agriculture, The Christian Community and the Swiss
able to greet a series of world-class musicians as guests at the country authority.
Goetheanum: the Dutch clarinettist Tara Bouman, the Especially important is the collaboration with the Youth Sec-
American flortist Camilla Hoitenga, the trumpet player tion. It should be possible especially for young people and
Markus Stockhausen, as well as old friends Friedrich Lips musicians to participate in a Music Festival, and this thought
and Vladimir Tonkha from Moscow. affected the scaling of entrance fees. Already before pub-
In the cultural situation of the present day, such an event, lishing the programme, we received enquiries from young
with elements of practical life, of a deepening and of social people and students of the Youth Section, including from
nature, is very important—simply for all those people inter- South Africa, and we hope that everyone who wants to par-
ested in music generally, then for musicians out of the vari- ticipate finds the possibility, and together we may share
ous fields of work, and especially for the younger generation moving experiences in a free exchange.
for a possible orientation. The programme has come about Contact: [email protected]

ANNOUNCEMENTS

Each respective organiser is responsible for the events listed Summer Course 2006
here. Their inclusion does not in every case signify that the Eurythmy and the Movement of Thinking
event corresponds to the direction of work aims for by the
leader of the Section or of the Editor of this Newsletter. Read- from 24th July, 2006 till 5th August 2006
ers and visitors to the events are to exercise their own judge- in Rudolf Steiner-Haus, Rieterstr. 20, DE-90419 Nürnberg
ment. The human being with his possibilities of movement
becomes the means of expression for artistic expression in
eurythmy. Exercises in music eurythmy and speech euryth-
E U RY T H M Y my, thinking-exercises, appreciation of paintings, work on R.
Steiner, Kunst und Kunsterkenntnis (“Art and the theory of
Eurythmy-Further Training Course with art”): lecture 15th Feb., 1918, formed speech and form-draw-
Annemarie Bäschlin and Alois Winter ing.
For those practising eurythmy, eurythmy students and eury-
7th–11th July 2006 thmists. With: Dr Manfred Krüger, Rita Jehle-Christiansen,
Music eurythmy therapy for eurythmy therapists, eurythmy Sabine Liedtke
therapy students, doctors, medical students, music thera- Registration and Info:
pists. Exercises developed by Lea van der Pals, in collabora- Tel./Fax +49-911-51 53 49
tion with Dr med. Margarethe Kirchner- Bockholt. (see Lea [email protected]
van der Pals, Annemarie Bäschlin, Tonheileurythmie. Verlag
am Goetheanum)
Led by Annemarie Bäschlin, venue Bildungsstätte für Eurythmie Wien
CH-Aesch, bei Dornach
Training, Further Training,courses in speech
eurythmy and music eurythmy
20th–29th July 2006
Colour eurythmy / basic elements of music eurythmy, led by Full time and part-time training
Annemarie Bäschlin A new training course begins: middle September 2006
Formed speech / speech eurythmy: culture epochs, led by
Alois Winter Graduation performance of the 4-year students from Vien-
Venue: Ringoldingen, Berner Oberland na: 17th and 18th June
Performance of the graduating course from Budapest, with
2nd–6th October 2006 the Vienna graduation-course: 21st June
Music eurythmy therapy for eurythmy therapists, eurythmy Diploma finals, performance in Dornach: 26th – 29th June
therapy students, doctors, medical students, music thera- Artistic stage work: Creating Festivals of the Year
pist. Exercises developed by Lea van der Pals, in collabora- Registration: Adelheid Petri
tion with Dr med. Margarethe Kirchner- Bockholt (see: Lea Summer working-days
van der Pals, Annemarie Bäschlin. Tonheileurythmie. Verlag Fri. 7th – Mon. 10th July: Speech Eurythmy:
am Goetheanum) Morning- and evening forces in the zodiac; Friedrich
Led by Annemarie Bäschlin; medical contributions from Dr. Schiller.
med. Eva Streit; Venue: Berner Oberland Mon. 10th – Thus. 13th July: music eurythmy
Registration: Annemarie Bäschlin, Ringoldingen Mozart: the dialogue in music, the orchestral element
CH-3762 Erlenbach (Berner Oberland) Info: Edeltraut Zwiauer
Tel. +41-33-681 16 18
 A N N O U N C E M E N T S
44

Registration and information The “eurythmie ensemble hamburg”

Bildungsstätte für Eurythmie Wien
invites you to a Eurythmy Seminar with Werner Barfod
Tilgnerstr. 3, AT-1040 Wien
Tel./Fax +43-1-504 83 52 “Eurythmy as a bridge between the worlds of soul and spir-
it and the sensory, visible world”.
Begins: Fri. 27th Oct., 6.00 pm
Second Eurythmy Studio on Rudolf Ends: Sat. 28th Oct., 9.00 pm
Steiner’s Eurythmy Forms Venue: Rudolf Steiner Haus, DE-Hamburg
Contact: Silke Weimer, Tel. +49-40-60 95 16 09
Theme: Indications for head and eyes in music eurythmy
and speech eurythmy
Date: Saturday, 9th September 2006, 3:30 till 6:30 pm. Courses with Annemarie Ehrlich 2006
Venue: Akademie für Eurythmische Kunst, CH-Aesch, BL
(Fee: 30 Sw. Fr. / conc. 15 Sw. Fr./ for active contributors, no fee) 13th-15th May, DE-Weimar: Holding the balance – in myself,
The following works are already booked: between us, in the surroundings
Das Vöglein by Friedrich Hebbel, The Bandruidh by Fiona Registration: Hans Arden
Macleod. am Weinberg 42, DE-99425 Taubach
We would like to hear of others addressing this theme! Tel. +49-36453-74 811
We also hope for a large interested and engaged audience
(registration not necessary). 19th/20th May, DE-Freiburg: Room between – room to play
Info: Ingrid Everwijn and Elrieke Koopmans with – free space
Eurythmie Atelier c/o Elrieke Koopmans Registration: Mona Lenzen
Saffretweg 6, CH-4143 Dornach Sommerberg 4 a, DE-79256 Buchenbach
Tel. +41-61-702 02 62, Fax +41-61-702 02 69 Tel. +49-7661-90 57 55
[email protected]. [email protected]

10th/11th June, DE-Ottersberg: The social effects of art

Austin Eurythmy Ensemble Registration: Institut für Kunsttherapie, Peter Sinapius
Tel. +49-4205-39490
Summer Eurythmy Academy 2006
July 8 – July 31, 2006 in Aspen, Colorado, USA 16th/17th June, DE-Überlingen: Open Seminar
A unique opportunity for Waldorf seniors and graduates Registration: Gerhild Bee
“The time spent doing eurythmy was very engaging, satisfy- Nussbaumweg 5, DE-88699 Bruckfelden
ing, exhausting, and ultimately a perfect opportunity to Tel. +49-7554-98 77 69
move with people such that somehow you became the art
you are trying to represent.” 16th-21st July, NL-Den Haag, Summer week: Transcending
Cameron MacArthur, Summer Eurythmy Academy 2005 limits “in myself – between us – in space”
Academy participants will study all aspects of eurythmy Registration: Annemarie Ehrlich
amid the majestic mountains of beautiful Aspen, Colorado. Dedelstr. 11, NL-2596 RA Den Haag
Form, gesture and color will be examined and explored in
terms of choreographing and performing. In addition, the 22nd/23rd Sept., DE-Hamburg: Space between – room to
participants will be guided in research into the difference play with – free space
between speech eurythmy and tone eurythmy. The theme for Registration: Uta Rebbe
the study of speech eurythmy will be The Cultural Epochs, Ehesdorferheuweg 82, DE-21140 Hamburg
and the Piano Trio by Shostakovich (2006 marks this amaz- Tel. +49-40-79 75 35 94
ing composer’s centennial) will be the central piece in the
study of tone eurythmy. Deepening our appreciation and 7th/8th Oct., BE-Belgien: How can I school myself that thoe
understanding of these themes will be enhanced in intense who have died might want to contact me.
painting courses, and studies in youth anthroposophy will Registration: Josef Callens
offer opportunities for increased consciousness and devel- Tel. +32-3633-19 03
opment of the self. The Academy features both intense
ensemble work and an emphasis on the individual artistic 13./14. Okt., GB-East Grinstead: Team-building
development of the participants. Where appropriate the par- Registration: Gale Ramm, 58 Upper Close
ticipants will be divided in two levels: Level 1 for newcomers GB-Forrest Row, Sussex RH18 5DS
and Level 2 for returning students. For more information Tel. +44-1342-82 45 64
about the Academy, please contact the artistic directors:
Andrea and Markus Weder 20th-22nd Oct., GB-Bristol: Movement of consciousness –
Tel. +1-512-301.1673 consciousness of movement
[email protected] Registration: Caroline Poynders-Meares
4 Hillborough Rd., GB-Tuffley Glos., GL4 0JQ
Summer Eurythmy Academy 2006 is sponsored by the Austin Tel. +44-1452-50 51 88
Eurythmy Ensemble. www.austineurythmy.org
 A N N O U N C E M E N T S
45

28th/29th Oct., NL-Haarlem: Transcending limits, in myself Eurythmy Assn. Switzerland EVS
– between us – in the surroundings.
Further training courses for qualified eurythmists
Registration: Eva Ouwerhand
Akademie für Eurythmische Kunst BL, Aesch (CH)
Lambrecht van Dalelaan 28, NL-2015 ET Haarlem
Tel. +31-23-5 24 73 56 Course 12: Eurythmy in Education
Music Eurythmy Classes/Grades 6 – 9
3rd/4th Nov., AT-Graz: Dying earth – living worlds Led by: Prosper Nebel, Baar
Registration: Hannes Piber Wednesday, 24th May, 7.30 till pm Saturday, 27th May, 5.00 pm
Weizbachweg 12a, AT-8054 Graz Public lectures: Thurs., 25th May, 11.00 am.
Tel. +43-316-69 36 67 Marcus Schneider: ”From Barock to Classical – a step inhu-
man development towards the earth”
10th/11th Nov., AT-Wien: How can I school myself that those
who have died might want to contact me? Course 13: Eurythmy in Education
Registration: Uta Guist Humour and Lightness before Puberty
Wöbergasse 21, AT-1230 Wien Led by Annemarie Vollenweider, Basel (texts)
Tel.+43-1-803 71 55 Prosper Nebel, Baar (music)
Friday, 22nd Sept., 7.30 pm. – Sunday, 24th Sept., 12.15 pm.
16th-19th Nov., CZ-Prag: Method: How can I learn to teach;
rod exercises Lecture/ seminar: The birth of eurythmy and the develop-
Registration: Karolina Svobodava ment of the dance 1900 – 1930
Terronska 72, CZ-160 00 Praha G Lecture with examples on film
Tel. +42-06-0633 95 52 Led by Hans Fors
[email protected] Saturday, 14th October 2006
Venue: Basel. More details in the next Newsletter

Eurythmy Spring Valley Course 14: Eurythmy in Education

Music Eurythmy Classes/Grades 9 – 12
Eurythmy training
Led by: Sebastian Arakov, Basel
Full time: training begins 6th September 2006 Wednesday, 3rd Jan., 17.30 pm. – Saturday, 6th Jan. 2007,
Part-time Frontier Course: Part 1: 13th–19th August 12.15 pm.
Artistic year (5th year): from 6th September 2006 Public lecture:
This year’s 5th Year Course will begin with a 2 ? week tone Marcus Schneider: “The splitting up in chromaticism and
intensive with Dorothea Mier with the 3rd year students, the ‘I’-experience of the octave”
after which participants will continue with the 3rd year
course while working on individual projects. Course 15: Workshop with Andrea Heidekorn
Theme to be announced
Pedagogical Training August 7 – 18, 2006 Saturday, 24th February 2007
Join us for a two-week immersion into the world of Peda-
gogical Eurythmy, with Christina Beck. The first part will be Course 16: Course with Werner Barfod
devoted to eurythmy in early childhood, with an exploration Theme to be announced.
of working with music of the lyre, glockenspiel and recorder. Saturday, 28th April 2007
The remaining days will be a completion of the work of the
full curriculum from grades 1 –12. There will be time for spe- Registration for all courses: Johannes Starke
cific needs and questions of the participants. Christina Eidmattstrasse 55, CH-8032 Zürich,
worked closely with Molly von Heider and has taught eury- Tel. +41-44-383 70 56, Fax +41-44-383 70 57
thmy in a wide variety of settings, including 21 years full Registration ends: 2 weeks before the course begins.
time at the Washington Waldorf School. Also included will be Registration and payment at the latest by 15 days before the
work with Norman Davidson on Projective Geometry and course begins (will not be confirmed). A reply and refunds
Rudolf Steiner’s The Study of Man. This is the final block of only given in the case of course cancellation.
the Pedagogical Eurythmy training and is open to all eury-
thmists who would like a refresher or a deepening of their
work. Tuition: $800. How can I create a stage presentation
in eurythmy?
Fall Intensive with Dorothea Mier September 6 – 22, 2006
Järna, Sweden, from 6th – 9th July 2006
The Musical Sound Appears through the Whole Human
Being. An intensivve course for eurythmists with Dorothea Course in choreography for eurythmy with Göran Krantz,
mier, working into the depths of the foundations of tone Järna.
eurythmy. Tuition: $ 600 This course will give a basis in how to create a eurythmy form
Information: Eurythmy Spring Valley and how one forms elements of dynamic and style. Begin-
260 Hungry Hollow Rd, Chestnut Ridge, NY 10977, USA ning with forms by R. Steiner, we shall look at the different
Tel. +1-845-352-5020 ext 11; Fax: +1-845-352-5071 elements which constitute a full stage presentation in eury-
[email protected] thmy. Aspects from modern research, like the soul-qualities
 A N N O U N C E M E N T S
46

expressed in music and movement will be worked at. Congrès avec S.O. Prokofieff
Info: [email protected] 13-14 mai
Tel. +46-855 15 07 70 Salle Odilon Redon. Verrières le Buisson.
(Journées organisées par l’Eurythmée avec le soutien de la
Société anthroposophique en France).
Directing eurythmy
Spectacle de fin d’études
Järna, Sweden 6th – 9th July 2006
Eurythmée
led by Göran Krantz Dimanche 25 juin 16 h
This course is about how to develop an ability to form eury- (Réservation au secrétariat de l’école)
thmy choreography. et dans les écoles Rudolf Steiner de
Starting with a work on elements in forms by R. Steiner, we Chatou, Verrières le Buisson, Avignon, Moulins.
will examine the different elements in a full artistic euryth- entre le 31 mai et le 19 juin
mical presentation. The basics of how to create forms; to (Se renseigner à l’Eurythmée).
form dynamic aspects and characteristics in expression and
style will be part of the study, as well as how a musical analy- Année 2006-2007
sis gives different clues to eurythmical expression. Elements Ouverture d’une première année de formation et de Stages
from modern research on how emotional qualities are intensifs:
expressed in movement, music and language are included. 29 septembre 2006
Göran Krantz graduated 1979 and has directed many pieces Reprise des cours de la deuxième et de la quatrième année:
in eurythmy, from orchestra, drama, chamber music to solo 18 septembre 2006
performances, performed in 14 countries. He is currently
leading the eurythmy training at R. Steiner University Col- Lessens are held in three languages: French, German and
lege in Järna. English
Info: [email protected] Inscription à l’Eurythmée:
Tel. +46-855 15 07 70 Eurythmée
1 rue François Laubeuf, FR-78400 Chatou
Tel./Fax +33-1 30 53 47 09
Eurythmy Therapy Training in Great Britain [email protected].

The next course, beginning at Easter 2007, takes place in five

blocks over a period of two years. For information and to Study and Rehearsal Work
apply, please contact: for Trained Eurythmists
Eurythmy Therapy Training
Ursula Browning With this initiative for trained eurythmists the possibility is
143 Slad Road, GB-Stroud, Glos. GL5 1RD given, to school yourself on the archetypal, spiritual basics
[email protected] of eurythmy. Our central theme is work on what are called
the “Grossen Geviert—Great Square” and verses from Stein-
er’s Anthroposophical Soul-Calendar, led by Ursula Zim-
Eurythmee Paris-Chatou mermann; contribution by Heinz Zimmermann on lan-
guage are also planned.
Stages intensifs
Part 1 is conceived as study days for trained eurythmists. In
27 au 29 avril Part 2 the concrete rehearsal work on verses from the Soul
18 au 20 mai Calendar is aiming for performance within the Chritmas
1 au 3 juin Conference 2006 at the Goetheanum. It is also planned that
15 au 17 juin the Soul-Calendar verses be performed at St John’s Tide
2007.
Il est possible à l’intérieur de ces stages de venir voir l’école,
de prendre contact avec le collège des professeurs en prévi- Part One: Days of study
sion d’une inscription pour la nouvelle rentrée scolaire de 1. The “Great Square” (“Es keimen der Seele Wünsche”, Eury-
septembre 2006. thmy as Visible Speech. Lecture 12)
2. The Anthroposophical Soul Calendar (the breathing of
Cours d’histoire de l’art forces between centre and periphery, colours and forms of
Jean Louis Hilbert the verses)
27-28 avril Work with Ursula Zimmermann and Heinz Zimmermann
(speech)
Cours d’introduction à l’eurythmie pédagogique. Dates: Thursday (approach) 25th and Friday 26th May 2006,
Praxède Dahan each day 9.00 am – 12.30 pm and 3.00 – 6.30 pm.
1-2 juin Friday 7th July 5.00 pm till Sunday 9th July 2006 12.30 pm.
Venue: in the Goetheanum, Dornach
La Pierre de fondation en eurythmie : Participation (also if only for one round) is by registration,
Un accès à la christologie anthroposophique. open for all trained eurythmists.
 A N N O U N C E M E N T S
47

Fees: for members of the Anthroposophical Society 50 Sw. Fr. Artistic course for upgrading to a
per meeting; non-members 100 Sw. Fr. per meeting Bachelor of Art-Eurythmy
Part Two: Rehearsal work The Kairos Eurythmy Training in Cape Town is offering a
on the verses from the Soul Calendar with performances at course for upgrading to a Bachelor degree
the Christmas Conference 2006 (25th – 31st December
2006). Direction: Ursula Zimmermann. Course dates: 2nd October 2006 – August 2007
Dates: Entry requirement: Completion of the 4-year diploma
Friday 13th October 9.00 am to Sunday 15th October 2006
12.30 pm Course content:
Friday 10th November 9.00 am till Sunday 12th November Solo work in tone- and speech-eurythmy
2006 12.30 pm Creating and Rehearsing an artistic programme of +- 1
Friday 22nd December 9.00 am till Saturday 23rd December 1/2hrs and performing in South Africa (evening and chil-
2006 6.30 pm dren’s programme)
Venue: in the Goetheanum Research project : Mini-dissertation on a eurythmy related
Participation in this rehearsal work is only possible as a theme
whole. It is organised for artistically capable eurythmists, Modules on advanced themes in eurythmy
who pass an initial audition with Ursula Zimmermann. For Modules on pedagogic-didactic methods
the participants of the rehearsal work no fee is demanded. Eurythmy in the workplace
For the co-workers of the performances during the Christ-
mas Conference, a financial recognition is planned. We ask The Bachelor degree will be granted with the successful
for written applications for both the study days and to the completion of the course.
rehearsal work:
Goetheanum-Bühne, Thomas Didden: Cape Town offers a wide range of social, artistic, cultural and
Postfach, CH-4143 Dornach 1 nature-related experiences in its multicultural setting, chal-
Further information Ursula Zimmermann: lenge and beauty
Tel. +41-61-701 65 40 Kairos Eurythmy Training
Centre for Creative Education
We should point out that a further regional rehearsal work PO Box 280, ZA-Plumstead 7801
on the Soul Calendar verses takes place from 1st May 2006, Tel. +27-21-797 6802, Fax +27-21-797 7095
Mondays or Thursdays from 5.00 pm till 7.00 led by Ursula [email protected]
Zimmermann in Haus Pirol. Registration and information www.cfce.org.za/kairos/
direct from Ursula Zimmermann.
For the initiative: Ursula Zimmermann and Thomas Didden
Request for Training
Eurythmy-In-The-Workplace

Artistic Course at the Goetheanum Stage I am interested in the training for Eurythmy-in-the-Work-
place for English speaking eurythmists as developed by
for eurythmists aiming for a stage profession
Annemarie Ehrlich in Holland and Egypt. Suzan Eggers of
from 17th October to 15th December 2006 Chicago (USA) told me about this course, which she recent-
ly completed. I wrote to Ms. Ehrlich about my interest and
“Rudolf Steiner’s indications today” she answered that if there are at least eight or twelve English
speaking Eurythmists committed to begin the training, then
Intensive course from Tuesday to Friday full-time. Morn- she would offer to begin in the summer of 2007, continuing
ings: speech- and music-eurythmy course. Afternoons: 14 in December 2007 or February 2008. Please write or phone
thematic blocks. me if you are interested in beginning this training.

Registration till 1st May 2006 Mami Saphir

Auditions day: 6th May 2006 from 3.00 pm to 6.30 pm 18531 Mayall St. J, Northridge, CA 91324, USA
Tel./Fax +1-818-882-1785
Information and registration contact: [email protected]
Sektion für Redende und Musizierende Künste
Doris Bianchi
Goetheanum
Postfach, CH-4143 Dornach 1
Fax +41-61-706 43 14
[email protected]

For the Section: Werner Barfod

For the Eurythmy-Ensemble Elsemarie ten Brink, Eduardo
Torres
 R E V I E W S
48

S PE E C H MUSIC
Recognising – Empathising – Healing Music-Eurythmy Work on J.M. Hauer’s
Therapeutic Speech Practice further training for artistic
Compositions for Piano
speakers, docotrs and therapists “Dialogue between Lungs 8th – 9th December, 2006
and Heart on the search for rhythm and balance”. with Johannes Grainer and Werner Barfod
Responsible: Michael Kurz
16th June (8.00 pm) till 18th June (12.00 midday) 2006 michael,[email protected]
at the Krankenpflegeschule Filderstadt/ Bonlanden
Barbara Denjean-von Stryk, Sprach- und Atemtherapeutin/
Stuttgart. Dr. Hendrik Vögler, Praktischer Arzt/Dortmund.
Barbara Taubenreuther, Dipl. Kunsttherapeutin/Filderstadt
This course is recognised by BVAKT.
Info and registration:
Barbara Denjean-von Stryk
Einkornstr. 23, DE-70188 Stuttgart

REVIEWS

how clear it was possible to present this path in this book.

Experience music – find yourself
An abundance of clearly notated musical examples helps
Roswitha Venus the reader to enter on concrete experience. As a help for
Ein Weg zu vertieftem Musikhören those for whom it is not possible to sing or play the musical
[‘A path to deepen listening to music’]. OLMS Verlag. examples, two CDs are included of them all. Differing from
Hildesheim 2005. Pp. 173, with numerous musical examples other paths, the wholeness of musical experience is aimed
in the text and recorded on 2 CDs. Bound. ISBN 3-487- for, in which thinking and feeling are both equally involved.
12885-3. EUR 24.90 Thinking does not lose itself in intellectual, theoretical
analysis, neither does feeling in subconscious indulgence
Michael Walter and enthusiasm.
Through reading and studying this publication, everyone
Music—the language that everyone in every country under- can feel himself musically enriched. Whoever practically fol-
stands. The language that for centuries has united peoples lows the way described with the help of this book receives
and cultures. Listening to music—something that we all do moreover the possibility to experience something of the
because it affects us, appealing to our emotions. Do we need abundant relationships between music and the human
our own path here, a path to deepen listening to music? This being, that is, between the music and himself.
new book from the experienced music teacher Roswitha A path to deepen listening to music—whoever flips through
Venus (Göttingen) is a special kind of book on music because the book will no doubt miss the great sweep, the cosmic
it leads to a deeper understanding of music. Yet in what way? vision, the result-orientated comprehension. But perhaps
Roswitha Venus’s path, for the first time recorded in a book, just because of this, we see a quiet demand for a new way of
goes even further. The author’s tremendously successful living with music. Music, which is the language that would
method of listening to music, practised for decades, is unite peoples and cultures on into the future.
directly based on Goethe’s view of nature. In a logical man-
ner, the path is described that can be followed by everyone
Elisabeth Göbel, DE-Göttingen
interested in music whether amateur or professional.
In a comprehensible way, this book describes concrete exer- This exceptional book music lovers will read like an exciting
cises for the uncomplicated perception of melodic, har- novel, because to read the many actual musical examples
monic and rhythmical phenomena. Then it proceeds to the accompanying the individual phenonmna a can awaken a
variety of how these three elements work together in works fuller interest. Nevertheless, this way of reading is not at all
of musical art. the aim of the writer—in contrast to what is usual. No, here
Nowhere is teaching, tutoring, or speaking about the phe- you are to move forwards as slowly as possible. The ear
nomena pursued, but out of them the practical path is indi- should if possible stay for a long time with the individual
cated. Those people who had the special privilege to attend sound-formations—best of all play them yourself—and fol-
one of the many courses on listening of Roswitha Venus at low in feeling all the inner movement. Non-instrumentalists
one of the many venues, will know about what I speak. can listen to Roswitha Venus’ CD. Independent of whether
The special social event shown and developed in the respec- we like it or not, Goethe shows us in an exemplary way with
tive courses, was at the same time also the result of the plants, allowing their development and creative processes to
shared music listening . Of course this can only be imagined work on him, we too may hear about the phenomena of
when you study the book. But it is nevertheless astonishing music as they unfold, contract, form themselves and pass
 R E V I E W S
49

away. Are not all these processes of growth and decay also to to the left. In short, they especially allow the heavy and light
be found in the human being, in the most varying realms? qualities within a bar to be experienced, but also the num-
For Roswitha Venus it is a life-long concern to become aware ber of bars as a structural element, for, by changing direction
in intensive listening for these processes in music and in of the curves dividing the piece of music into parts (e.g. Part
herself and thereby become conscious—not abstracted 1 curves to the right, part 2 to the left, then arm movements,
from her musical environment, but to discover how the indi- etc.). This produces much joy in grasping the whole of a
vidual elements in their different areas in musical works are piece, whereby you can build up all the other elements.
perceived, i.e., how different, for example, the contracting After the phenomon of the upbeat with its joyful and solem-
effect of a dotted rhythm is in different contexts. We can nm musical examples, we are led into the realm of the
recall how different are the contractions and the ensuing unheard—to the rest and right into the last breath into anoth-
speeding up in human biography too, when for example er world—in listening to the end of the Art of Fugue. Here the
they manifest more in the thinking, the feelings or the will. connection between music and destiny becomes existential.
So in what we have made our own experience, we learn to This book came about out of decades of experience giving
recognise primal tendencies in the most varying manifesta- courses. From a full engagement of her personality Roswitha
tions, whether in life, or in music, as effects of the “I”. Venus herself stands completely back, extending a bright
How is this book constructed? Since everything is most avail- mood of openness, in which to inspire the participants for
able for us in a melodic form, it begins with melodic phe- the miracle of music and able to express their impressions.
nomena. Through simple examples, we learn consciously to In conversation between the intensive piano playiing of
perceive with sprouting and striving elements, with expand- Roswitha Venus and the contributions which are lovingly
ing and contracting, circling elements and the resting-in- coaxed forth from the participants—for instance: “Is this
itself, and also what rushes away and what passes on. We all passage not at all wakeful?” “No, it is more dreaming!” “Or do
feel the effects, but do we take the time to devote enough we almost fall asleep?”—, the work of art is seen in a new
attention to them? In encouraging and helpful words, we are light, lit from within.
invited by Roswitha Venus for the tranquil listening that In these seminars, it was for me an ideal situation to do eury-
opens up for us the differentiated effective forces. thmy with such a motivated group and it would be quickly
As an essential element of melody, the intervals are taken possible—despite some clumsiness—to reach differentiat-
next—and how rich each one appears according to its musi- ed, far-reaching questions of artistic fashioning. From my
cal context—already simply in the different periods of style, experience, this Goethean method of listening to music can
in the different movements of a single work, etc. We discover be a great help not only for music but also for teaching eury-
the manifold facets and possibilities of each single interval. thmy and a very good basis for enlivening and for exact
The musical examples so organised, that we can step by step imagination—not least for one’s own creations!
go on a path, however “untrained” in this area. Indeed, per- The book, which is purposely only looks at the experience of
haps is it even an advantage to be “unspoilt” in theoretical basic phenomena, ends with two presentations of the work-
knowledge to learn to experience spontaneously? ing together of the three basic phenomena (187f.). According
After the study of intervals harmonic phenomena follow. With to the author, this is intended as a preview to understand the
these, our feelings are strongly addressed with both peaceful next step of practice in fashioning. Here we can still become
and tense sounds, whereby the conscious perception of these active ourselves, which would be necessary to reach an
qualities of sound in the course of the music is harder than in authentic interpretation. But for this we have the best prereq-
the melodic realm. But through the careful, systematic steps, uisite through the element of practice of the deeper receiving
through listening to root position chords and their inversions in oneself of the various manifestestions of the individual
in major and minor, with hovering and striving sounds with phenomenon in their working together, in order gradually to
impressive examples, from songs via Bach to classicism and synthesise the entirety. It is to be wished that this book finds
romanticism—up to their structure, we learn ever better to an extensive recognition, for it is a real contribution for the
differentiate, so too with modern pieces of music. future of our impulse for art, for which we can be grateful.
It is very exciting to explore rhythmic phenomena with the
stimulating examples for walking, pulsing, flowing and
breathing rhythms. Then there follows the dotted note Rosemaria Bock
examples, mentioned above, with their different struggles Gestalt – Bewegung – Eurythmie
and balancing out of the polar forces of over-stretching and
of concentration. Added to this comes syncopation with its [Form – Movement – Eurythmy] Studies on the study-of-
contracting and so awakening effect, which often produces man of eurythmy lessons with 20 colour illustrations and
an increase in tension. many drawings.
The illuminating examples for the vareties of beat or pulse
are pleasing. A quite new element enters, the pulse of beat. Pädagogische Forschungsstelle beim Bund der Freien Wal-
Supplementary to the usual static feeling of beat in the skele- dorfschulen [‘Educational place of research at the Waldorf
ton, these give the dynamic component of the experience of Schools Fellowship, Germany’] Wagenburgstraße 6, DE-
beat.This has proved itself as a wonderful enrichment for 70184 Stuttgart. Stuttgart 2005, ISBN 3-927286-42-7, EUR 20,-
our own feelings. The pulse of beat can be experienced, not
only in Roswitha Venus’ seminars but also in teaching in Elisabeth Göbel, DE-Göttingen
schools, etc., through the movement of the different curves,
whether one feels the movement through swinging the arms This book exactly meets the problems in which eurythmy
or through sideways walking, whether to the right and then finds itself in the cultural situation today. In a free way, it
 R E V I E W S
50

offers help especially for teachers who have to question indeed to the the oldest form of art of human evolution,
themselves a great deal. Although the contemporary situa- which in actually carrying it out contains in itself both ori-
tion has become more open towards spiritual things since gin and development—right up to today—and that is in your
eurythmy has been in existence, the really new element of own human figure! The author roots eurythmy not only in
Steiner’s impulse for art has seldom been publicly recog- the human being, but also in his entire evolution. This is sim-
nised or understood. In the art scene today, the search for ply described from the phenomena and frequently also to be
the new is made with every means. It is sought in estrange- read between the lines.
ment—no doubt a necessary stage—for example, through Through prehistoric cave-paintings, R. Bock shows us divine
technology or an emotionalism, partly in order with art to creating principles, archetypal forms and movements,
avoid our flat existence here, partly to get ‘under the skin’ to which reappear in a new form in eurythmy. “The human
penetrate deeper into the bodily element even with spiritu- physical gestalt becomes the instrument of the new art.”
ally intended presentations. There are very impressive descriptions of moved speech as
Yet the new thing of Steiner’s cultural impulse can be better pictorial speech imaginations from Tansania, Mexico and
understood for those people who take up artistic courses, Europe. One can experience that the origin of speech must
whether painting, sculpture or eurythmy, when these cours- have been a kind of ‘primal eurythmy’, and how the ability to
es are presented in such a way that one’s own experiences listen with the whole human being has formed him, and his
can be made and are allowed to be included. Thereby the ability to move. Towards the end R. Bock in feeling the signs
new can be experienced as the opposite of an estrange- as traces of movement, allows herself through the free eury-
ment—that is, as a self-discovery in becoming acquainted thmical movement of space to transform everything sym-
with all the surrounding qualities of sound, colour and form, bolic into genuine artistic activity. In the final chapter the
and the processes of the human form and of movement. tremendous therapeutic impulse of eurythmy is discussed,
Experience of the surroundings becomes your own experi- where practical exercises are described to foster dexterity, in
ence, that is, not estrangement but increasingly being at order that the body can become the instrument of the soul.
home with oneself, a humanising . Here Rosemaria Bock’s Everywhere in the book, you can feel the decades of experi-
presentation can stimulate the taking-up of many new tasks. ence of the author gained as a eurythmy teacher in school
Eurythmy, as we all know, enjoys a special status. For exam- and as a tutor of eurythmy teachers.
ple, no other subject in Steiner-Waldorf Schools is so ques- The book gives a rich treasure of spiritual contexts. Out of
tioned regarding its usefulness. If the pupils, after overcoming this background eurythmists can come to a conscious grasp
their comfort-zone, cannot be led towards joy in living, mean- of artistic method. Even students, whether of adult courses,
ingful movement, they experience ever greater doubts than in the training, or school pupils, can be stimulated in their
about other artistic activities. So they depend on the experi- work. This book is a real guidebook towards an answer to the
ence of a thought-penetrated background that they can feel question, ‘What actually is eurythmy?’
right into their corporeality. If this experience even corre- As the inner thread of this collection of essays (certainly not
sponds with the content of from the main lessons, they will intended by the author), I see an individual path in eurythmy,
enjoy identifying with the eurythmical movement. This makes which in the beginning is more a Spirit-Remembering and in
especially big demands on the eurythmy teacher. All the oth- the middle, e.g., in the chapter on feeling the effects of bal-
er arts, after all, have undergone a development for ages, ance, a eurythmical spirit-Mindfulness. Towards the end,
which one thinks one knows. But eurythmy? does it have such where stages of development are discussed instead of sym-
a development? where does it actually derive? what is it? bols and where in practising the qualities of colour inner steps
In this mood of questioning, this book, a collection of ten of development are shown, a eurythmical Spirit-Beholding
essays, which with the theme ‘Form – Movement – Euryth- seems to arise. A saying of Manfred Schmidt-Brabant come to
my’, shows an inner context in which in a wonderful way mind, which he spoke in connection with Class work, “The
there lights up what is meaningful. Already after the first more individual the path, the more objective!” This is an excit-
page, experiencing what you have read, you can learn to feel ing prospect. May the book find a wide readership
your own “pillar of light” (GA 277a) produced in the moment
(depending upon one’s own uprightness and possibility). In
this there slumber all the possible pillars since ancient times, Elisabeth Göbel
out of all the cultural epochs—Celtic, Germanic, Egyptian, Eurythmie im ersten Jahrsiebt
Greek, Romanesque and that of the Goetheanum (see
below). It is the power in human development, linking heav- Ein Lebenselixier in unserer Zeit. Menschenkundliche
en and earth. Impressive presentations from the sculpture of Begründungen und praktische Beispiele. [‘Eurythmy in the
the past create the relationships. In this way, too, the mytho- first seven years; an elixir of life in our time—basis from a
logical picture of the snake. In humanity’s development it study of man with practical examples’]. Verlag Freies Geis-
creeps on the earth, embodying earth-bound wisdom. tesleben 2005, pp. 272 with colour illustrations, ISBN 3-7725-
Raised up on the pillar of light, it is transformed into a free 1868-0, EUR 24 / 38.60 Sw. Fr.
ability to move as the gentle S-curve of our spine. We are led
through pictorial representations and descriptions from Astrid Prokofieff, CH-Dornach
temptation in Paradise, via Moses’s power of transformation
of the snake into an upright staff, towards the Greek, divine, Whoever has had the privilege of experiencing Elisabeth
primal physician Hypocrates, via the Bernward pillar in Göbel in her eurythmical activities, finds this mirrored in a
Hildesheim to the Mercury pillar of the First Goetheanum. wonderful way in this book. It rays out joy, joy in the world
And already after chapter one you feel that eurythmy seems of children in their first seven years; joy in the art of move-
 R E V I E W S
51

ment, eurythmy; joy in the educational activity carried by lesson examples, with suggestions for movement, stimulat-
Rudolf Steiner’s concept of the human being. ing the imagination of the eurythmist, as well as her own
Sensitive, and penetrated with humour, the chapters can be poems and from the rich treasure of our great forerunners
fluently read and in a language which shows poetic insight. Hedwig Diestel and Marianne Garff (chapter “Meeting H.
She has achieved in written form something so alive and Diestel and M. Garff”) and educational advice, including
moved as the eurythmy lesson in the kindergarten, or also in three fairy-tales for Class 1. The reader discovers a richness
the Class/Grade 1, and at the same time showing the back- which will make entering this profession possible, providing
ground to it that can be gained from observation of the chil- provision for many years.
dren and the effects of eurythmy. It is revealed to the reader how children view the world
The content and structure of the book is woven like a tapes- through the many coloured drawings, illuminated through
try. Practical examples (verses, stories and exercises, with descriptions. This beautiful book, carefully edited by the
indications how to carry them out in movement and with publisher (Verlag Freies Geistesleben), truly contains “an
musical accompaniment) are artistically woven with the elixir of life of our times”. Not only will it serve kindergarten
eurythmical task of accompanying the being of the child teachers as a stimulant, but may also be recommended as a
though the sounds of speech carried by moods and pictures, refreshing deepening of this art for all those people who do
and to practice skill in bodily movement. The structure of eurythmy.
lessons, embedded in the cycle of the seasons (Part 1 “Obser-
vations at the beginning of the year”), is developed with
examples and variations illuminated in method and teach- Truus Geraets
ing technique. They are brought to the attention of the eury- Die Heilende Wirkung der Eurythmie –
thmist as stimulation to his/her own creativity. A loving, seri- Lebenskunst weltweit praktiziert
ous, joyful encouragement is the prevailing tone, awakening
a deep trust towards the creative and healing formative [“The healing effect of eurythmy – an art of life practised
forces of eurythmy. Here the arts of eurythmy and of educa- world-wide”]. Diametro Verlag Arlesheim (CH), 2005.
tion flow together, deepened through points of view out of Orders: [email protected]. ISBN 3-033-00633-7. Price EUR
anthroposophy. 39 / 59 Sw. from booksellers or frei Haus.
In this book a path of work is described, leading through all
four seasons. The respective education aims are formulated Alexander Höhne, CH-Basel
and eurythmically fashioned out of the moods of nature, the
various human activities, the meeting between the human The writer Jean Paul (1763–1825) once said that books are
being and the animal, the elemental beings and the experi- really long letters to friends. That may not apply to every
ence of the human inner and outer worlds. The realms, for book, yet I think it applies to Truus Geraets’ book Die
example, of the seven life-processes, of the ether-body and Heilende Wirkung der Eurythmie. Truss wants to tell friends
its meaning for the work with children are carefully of eurythmy and eurythmy therapy of her rich life-experi-
described, through lessons for spring. In the light summer ence of 45 years practice in these activities.
stories there live the refreshing and nourishing forces of the In reading her text you dip into apparently different themes,
sounds of speech, which can be equally experienced by the for instance “the inner calling of the ‘healer’”, ‘the social ele-
children and the eurythmists and most stimulating through ment of eurythmy” and “courage for life”—just to give the
their teeming imagination. The stimulation of the senses titles of the first three of sixteen chapters. This nevertheless is
(Steiner’s teaching of the 12 senses) is awoken in the exam- not arbitrary, but reflects the rich abundance of life, the expe-
ples for the autumn. Further lessons for autumn, Advent rience and the multi-faceted work that Truus sketches. Her
and winter deepen the inner world of experiences of the biography led her to three continents and to various cultures.
incarnating personality (the ‘I’ of the child), The text offers all sorts of stimuli in which to enter and also
illumined through the stages of development expressed in important advice for therapeutic practice. This advice is
walking, speaking and thinking. Here moral forces are fos- often emphasised in the text and thus is often easy to find
tered, which as pictures or in the rhythmical breathing of again.
movement can have their strengthening effect throughout Truus is not afraid to go her own and often unusual ways, for
puberty right on till adulthood. Out of Frau Göbel’s 45 years example in education and therapy she does not only rely on
of teaching experience, it becomes clear what support for the repertoire of Waldorf education and eurythmy therapy,
the individual path in life can be given through the short but in accordance with those responsible, draws on other
eurythmy lessons in early childhood. forms. Here Truus says, “‘Handling therapy’ demands great
In a lively collaboration with parents and educators in force of conviction and force of love from the parents. It ini-
kindergarten and school (chapter, “Some practical explana- tially means going against the child’s will. Here it is especial-
tions” Part 1) the forces of childhood can be strengthened ly important when the child behaves wildly, takes no notice.”
and unfolded, despite the often hindering and illness-pro- On her many travels and working practice Truus was con-
ducing effects of our civilisation. This collaboration can also fronted with all sorts of reasons why children, or parents,
help to ease the working situation of the eurythmist. The behave unusually. As a rule soul or bodily traumas are at the
author conveys to us adaptability, understanding and a per- root. What are called behavioural disturbances can only be
severance with humour, as well as a deep faith towards eury- dealt with therapeutically when you are prepared to look
thmy as “the heart-piece of general education”, which Rudolf deeply into the soul and life of the person concerned. This
Steiner gave as a healing impulse for our time (p. 154). needs courage. Courage and inspiration for work Truus gains
The second part of the book consists of a rich abundance of through meditation, prayer and the study of Rudolf Steiner’s
 R E V I E W S
52

writings. But also other wisdom teachings, as well as great of eurythmy. Various eurythmists working in education and
therapists stimulate her work. She frequently mentions this. therapy speak about their work and problems, giving each
The artistic work receives through the background of the other suggestions. Eurythmische Korrespondenz is thus a
strivings in therapy and healing are of quite a unique char- precursor of our Performing Arts Newsletter in the living
acter. It is a place of life and experience which can be quite form of conversation. Whoever wants to bring the roots of
free from all traumatic conditions of existence. Conse- eurythmy to bud, willfind precious things in this book.
quently the artistic work can excellently support the thera-
peutic work. Hans Reipert: Eurythmisten im Gespräch, 1952 – 1958.
Although Truus in her artistic and therapeutic work takes up Otanes-Verlag Berlin, pp. 320; EUR 11.50 / 21 Sw. Fr. ISBN 3-
all the elements of eurythmy, work with the sounds has tak- 931370-70-4
en a special place. This is shown in the book through whole-
page illustrations, where Truus explores the sounds and
through drawing attempts to lay hold of specific individual Wilfried Hammacher
qualities. She is concerned, as she relates in a conversation, Die Grundelemente der Sprachgestaltung
not with art for itself but these are rather working sketches und Schauspielkunst nach Rudolf Steiner
which can serve herself as well as others to make clear certain
forces lying in the sounds. With these sketches are also shown [‘The basic elements of artistically-formed speech and the
something out of the workshops from her courses, in which, art of acting according to Rudolf Steiner’.] Pp. 896..Swiss Fr.
leading people to personal experience, she takes account of 64.- / EUR 39.-, Verlag am Goetheanum, Dornach 2005)
the forming power of the artistic or therapeutic processes.
Truus has given courses for children and for parents. She Reiner Marks, DE-Tübingen
gives further training for those practising eurythmy and
eurythmy therapy. The chapters of her book testify to this In this book on “basis elements”, Wilfried Hammacher pre-
abundance. sents such a comprehensive work that one cannot hope to
The many admirable stimuli for autonomous further do it justice in the space allotted to a review. The methodical
thought and application makes this book more a work-book path which for over 40 years he has practised as actor, direc-
than an armchair read. It is a book written out of practice for tor and leader of a school (Nachwort), he summarises in
the practice. That it may not be quite off-beam is shown by Chapter l on only eight pages as a quintessence. Starting
the recommendations of both Werner Barfod (Leader of the from a soul-experience of a poetic text (“thinking”), the sec-
Performing Arts Section) and Christof Weichert (leader of the ond step leads to the study of gesture (“will”), out of which
Education Section). as the third step there arises the forming of speech (“feel-
If you have the possibility, it is surely better to meet Truus ing”). The entire book then unfolds in 450 pages, “composed
yourself than simply to read the book. Her joy in life, courage of a piece” in twice 7 chapters. Part 1 develops the above-
for life and rich experience, especially with people in difficult mentioned “method of practice”, on the search for experi-
or restrictive situations in life, brings joy and are catching. ence via gesture to speech, and it contains a further chapter
on stage-work—colour, directing, and the relationship
between eurythmical and acting gestures.
Hans Reipert At the beginning improvisation is sketched, the feeling for
Eurythmisten im Gespräch 1952 – 1958 ideas and the feeling for the sounds of speech face each oth-
er, with the example of Goethe’s poem “Über allen Gipfeln...”.
[Conversatins on eurythmy 1952–1958] Sophia-Imme After the feeling for the sounds of speech for all the alphabet
Atwood-Reipert, CH-Dornach is described, there follows a fine summary (p. 67) of the
sequence of moods in this poem. Also in the chapter dedi-
Now Eurythmische Korrespondenz by Hans Reiper has final- cated to gesture takes a broad view, and before the feeling for
ly appeared! What was it like, that moment after the War with the sounds of speech in the gesture (Speech and Drama, lec-
its bombs, Trümmern, Flucht, Armut and fobidden anthro- ture 11) the ‘laws of space” from lecture 9 ae included, fol-
posophy, when one entered a Waldorf School and was lowed by an important conceptual elucidation of what are
allowed to do eurythmy! After a terrible “spiritual winter” called the “basic gestures” (p. 102). The subsequent chapter
every seed of anthroposophy and eurythmy was taken up on speech brings as a focus all the speech exercises; alongside
and fostered with great seriousness and enthusiasm. The (as it appears to me) a too brief treatment of metre, rhyme
eurythmists, dispersed everywhere, sought out each other. and strophic form—and the question arises whether in fact
Out of this situation, my father decided in 1952 to bring the everything has to be mentioned in one book. I also find it
eurythmists to written and verbal conversstion. Since my somewhat difficult, when for example the hexameter is dis-
father was one of the first male eurythmists, he knew all the cussed on three separate places (pp. 112, 121, 179), so that—
colleagues. The book contains contributions by Lory Maier- similar to the “6 revelations” (pp. 79, 106)—what could
Smits, Annemarie Dubach-Donath, Erna van Deventer-Wol- remain together appears to be torn apart. The way Ham-
fram, and others. One is astonished with what conscious- macher in this chapter develops how one can travel on a path
ness of responsibility these eurythmists speak about eury- from the experience of speech as such to becoming physio-
thmy. In their contributions, fundamental statements about logically aware of the speech-apparatus seems to me well
eurythmy are to be found. done. After discussions on the colours of costume and stage
Because my father was a very serious anthroposophist, you lighting (with 13 pages of quotations from Goethe’s Theory of
find in his descriptions a very deep and thoughtful account Colour), in the chapter on directing Schiller’s Maria Stuart,
 R E V I E W S
53

Hammacher discusses all the questions on the sound-moods develop them for today in a relationship with the progress
of the individual roles, the scenes and the plot, which meanwhile taken place in the non-anthroposophical world.
becomes very clear through this example. Ending Part 1, the In my estimation that can be a path into the future.
differences is discussed of the gestures of eurythmy and
mime and of the what both arts share in common method.
Everything is arranged almost exclusively in (sometimes Rudolf Steiner
page-long) quotations from relevant lectures by Steiner, Eurythmy as Visible Speech
where Hammacher limits himself mostly to short transitions
and a few of his own comments. So the impression arises of [GA 279], tr. by Alan Stott, Coralee Schmandt & Maren Stott,
a comprehensive collection, a gigantic compilation, fre- with an Introduction, a Companion consisting of 57 Notes &
quently raising the wish to look up the context of the origi- Excursi and 5 Appendices. Anastasi Ltd, Weobley 2005. ISBN
nal passage. 0-9541048-8-9. Sewn paperback with over 150 illustrations;
This impression is strengthened in Part 2 “Observations on pp. 384, £ 30 (on offer till Whitsun £ 26). <enquiries@anas-
practice”, the contents of which correspond with the chapters tasiltd.co.uk>
of Part 1. Here we find, rather like in a art gallery with its col-
lection of significant paintings, the spiritual-scientific back- Christopher Cooper
ground to the speech-organism, Steiner’s descriptions of
image-colours and lustre colours and on the colours of the This third improved and extended edition of Rudolf Steiner’s
aura (chapter on colour), and—once again central—on the lecture-course of summer 1924 is a fresh translation,
genius of speech, folk-spirits and the spirits of language. It is appearing 50 years after the revision of the 1931 English
illuminating in this chapter, too, to read Hammacher’s obser- translation. It feels like an Old Master restored to its youth-
vations on the composition-structure of Steiner’s Speech and ful self. Some awkward phrasing, questionable emphases
Drama, although Hammacher himself has taken this struc- and occasional mistranslations fall away in the process,
ture completely apart for the presentation of his own method making this truly an edition for the new century. The other
and arranged the quotations in a different sequence. major feature is the considerable section of endnotes, source
Where Hammacher himself is to be heard is his studies on material and essays that shed much light on the English lan-
the 7th Scene of The Portal of Initiation, “which... intends to guage and how eurythmy can express its subtleties and idio-
be taken as an attempt to stimulate new attempts at the syncrasies. The translator and ‘compiler’ Alan Stott and his
poetic education of consciousness.” The final chapter brings team of eurythmist co-workers are to be congratulated in
an appreciation of “Speech and Drama in the contemporary making this rich material available to the English-speaking
field: Stanislavsky, Brecht, Artaud, Strasberg, Chechov”. Here world. Moreover, those working in other languages will find
too Hammacher especially allows 20 pages for the above- here much to enhance their work, including stimuli towards
mentioned to speak, limiting himself to 11⁄2-pages of com- relating it to the cultural life of our times.
ments, in which he compares the different attempts (p. 423 Although the fifteen lectures form the centrepiece of this
f.). Before a final retrospect on the main intention of the volume, they are flanked by an in-depth introduction ‘What
book to describe the “paths of the Genius of Speech”, Ham- is Eurythmy?’ by Alan Stott, as well as 130 pages of Notes,
macher ends this chapter with a many-sided damning criti- illuminating chosen remarks of the lecturer. The Appendices
cism of rep. theatre of the 20th century. include a substantial essay by Annelies Davidson ‘Eurythmy
The second volume (not available separately) is a collection and the English Language’, supplemented by Barbara Beed-
of over 400 pages of many examples of texts, in order to try ham; Reg Down includes a suggestion on the eurythmy soul-
out all the indications directly in one’s own practicing—as gesture ‘Hope’ for which no eurythmy-figure by Steiner is
Hammacher wishes it. A collection which gathers many extant. This invaluable material has hitherto not been read-
well-known things for those practising formed speech in one ily available. A useful index relating to the lectures is also
book, but also less known and rarer things. Nevertheless, a included in this splendidly produced volume.
few irritations for me come about, as in the chapter “Ritor- In the introductory lecture, Steiner takes up the tradition
nell” and “Ghasel”, examples are cited that do not corre- that the Godhead creates the world through uttering the
spond to the reference-book definition, when a poem by N. sounds of the entire alphabet. Exalted spiritual beings com-
Sachs is not printed complete (p. 295), and Morgenstern’s municate through “a singing-speaking, speaking-singing”.
poem “Die Brille” does not appear in the version that is men- The Logos tradition was known in the early Mystery centres
tioned in the bibliography. Otherwise both volumes are very which, as Alan Stott mentions, were at the same time the
appealing, very carefully compiled, and the first contains an then equivalent of church, school and art-centre. Eurythmy,
interesting Appendix. present unconsciously in Paradisal humanity, lived on in
The whole work gives me the impression of a Titan, of over- temple practice, that is, in meditative work not simply its
whelming stature and in a direct relationship to the expression in the temple dances of yore. As Steiner claims,
sources—as with the Titans of mythology. Not much has be eurythmy was ever present, coming to birth as a new art that
published on artistically-formed speech, and so one can has been “wrested from Ahriman”.
only salute an old master making his contribution with this Steiner alludes to the preparation for this art born in modern
comprehensive presentation. And I hope that many col- times. About the renowned 19th-century historian of art Her-
leagues take this book as a stimulus for a deeper and man Grimm, he says that “there is something like an inner
renewed occupation with the sources of the arts of speech eurythmy in the way [he] wanted to lead his life and how he
and of the stage, which Steiner inaugurated over 80 years had the wonderful ability to transform”. Taking up this hint,
ago—but also as a stimulus to take up his indications and Stott follows up other leading thinkers in the English-speak-
 R E V I E W S
54

ing world. Steiner’s own Logos philosophy culminates guage. Marguerite could show how English is a vehicle for
amongst other things in the building of the Goetheanum: what is most sublime and also for the most droll absurdities.
“The Goetheanum was musical, it was eurythmical.” Here in The language is fluid yet muscular, archaic yet modern, deep
modern Europe was a true home of the Word. The point is yet light, abstract yet substantial. Its wonderful elasticity,
made that eurythmy is neither a mere intellectual study nor she also points out, has made it also the main vehicle for
a new dance style. Eurythmy is a language, a practical phi- electronic communication.
losophy, indeed practical anthroposophy. Davidson leads us into details, into the world of vowels and
Since Steiner’s lectures will be familiar to most readers (the consonants, skilfully steering through the tricky area of the
additional lectures included in the German edition and the Great Vowel Shift and the subtleties of English diphthongs.
previous translation now appear complete), we now take a Working merely with the printed text, with nothing sound-
look at the section of ‘Notes to the Lectures’ and the in-depth ing on one’s ears, demands much concentration, though
studies. The main Editor sheds light on those many spirits those who make the effort will find it most rewarding. This
who over the centuries have worked within the Johannine eurythmist draws the reader’s attention to an important
stream, expressing the living word. From Paul and Augus- image for the essence of the English language, given by
tine, through many poets and writers—Blake, Wordsworth, Marie Steiner to the eurythmist Marie Savitch (assuming it
Coleridge, Goethe, Tolkien, and so on—our attention is also originated from Dr Steiner himself ): “Lightning into the
drawn to important modern commentators such as J. Mid- earth, be above on the wave.” This indication ultimately
dleton Murry and G. Wilson Knight. We read T.S. Eliot’s refers to the three-dimensional cross; you are to be in your-
acknowledgement of Steiner as the spiritual leader of our self and at the same time in your surroundings. This valuable
time, and we are directed towards the independent theolo- passage (p. 360f.), which indeed summarises the practical
gian Margaret Barker who convincingly shows that Chris- essence of all eurythmy, will repay careful study.
tianity is a conscious continuation of what lived in Barbara Beedham who also worked with Marguerite Lund-
Solomon’s Temple. One striking parallel is found in Paul (2 gren supplements these thoughts, looking at the consonant
Cor 3:3): “you are a letter... written on tablets of human ‘r’ in particular and the way it influences its neighbouring
hearts.” Steiner continues this with his Foundation Stone vowels, concluding with a short study of the rhythmical life
Verse which was “laid in the hearts of the Members”. Earlier of Blake’s ‘The Tyger’. An Appendix by Eva Froboese gives a
he spoke (Dornach 7th October, 1914. GA 156) of us human concise history of how eurythmy first came to England
beings as “an intermediate member between the cosmic let- (beginning in May, 1914); she also mentions some reports of
ters, the cosmic sounds and those human sounds and letters Steiner’s indications.
which we use in our poetry. A new art will come about in For the present writer, two of the best discoveries by the Edi-
eurythmy. This art is for everyone”. tor are almost-forgotten articles by Owen Barfield, one
Lovers of Shakespeare will enjoy the extensive, deeply inter- appearing as the first article in the very first number of
esting and challenging note on our greatest dramatic poet. Anthroposophical Quarterly (Spring 1956), ‘Israel and the
Stott approaches the mystery of “the son of an illiterate Michael Impulse’. Barfield “finds it hard not to associate [the]
butcher whose daughter remained illiterate and after whose blessing [given to Jacob]” with the divine-human alphabet
death left neither book, manuscript nor letter, nor indeed itself. He thereby gives a key to the heart of eurythmy. The
any memory of his literary prowess in the countryside second article on ‘The Art of Eurhythmy’ (The Golden Blade
around bookless Stratford”. The question is pertinent: did 1954) confirms that “Eurythmy should not be thought of as
Steiner not research the question of ‘who held the pen?’ to re-expressing what the music or words are expressing in
compose the works of the Bard? He preferred, as we know, to another way... it fashions a fresh work of art altogether.” Such
concentrate on the artistic merits of the plays, remarking: insights, and not least the thinking leading up to them, are a
“Nothing human was alien to the genius who stood behind fine legacy for eurythmists all over the world.
Shakespeare’s plays and the characters in them.” From a This great lecture-cycle and its new Companion (following
kind of self-education, Shakespeare rises to the highest spir- the similarly organised study-edition of Eurythmy as Visible
ituality. With an observation on “the Stratford industry... Singing, available from the same publisher) will surely help
recognised as a late eighteenth century invention”, the Edi- eurythmy to move into ever wider circles. Art-lovers, some
tor points out that the authorship question resembles that perhaps daunted by certain developments and debates, will
on the inspired origin of the gospels, that is, the Mystery tra- welcome these thought-provoking volumes. In the face of a
ditions which of course continue in the Rosicrucian stream widespread tendency of dumbing down today, they can be
to which it seems clear Shakespeare belonged. heartily recommended. Not without touches of wit and
The above summary of this one endnote will give some indi- humour, the lecturer strongly advocates—and his commen-
cation of the thoroughness and also scholarship that lies tators confirm—the path of experience, acknowledging
behind much of Alan Stott’s work in this part of the Com- many poets, artists and friends to be met on the way. The
panion. Other examples are the Notes on dancing (exploring extra material (as the name says) aims to be a real Compan-
the links and contrasts between the dance and eurythmy), ion—other commentators may now be encouraged to add
on the larynx, on Darwinism, and perhaps above all on the theirs. Eurythmy needs many new friends who recognise
alphabet itself where Owen Barfield’s insights emerge how the spirit is revealed through ensouled movement, that
supreme. is, who know what they are doing in today’s world. Already
Of the essays on English eurythmy, Annelies Davidson in 1924 Steiner notes “that people cannot listen and will
expresses her gratitude for one of the great eurythmists of become increasingly less able to do so in our age unless the
the 20th century Marguerite Lundgren, who enabled her stu- power of [active] listening is re-awakened by eurythmy”.
dents to develop an intimate relationship to the English lan-
 P U B L I C A T I O N S
55

PUBLICATIONS

Rosemaria Bock Bk.3, ISBN 3-931370-67-4. 16.80 euros

Studien zur Menschenkunde Bk.4, ISBN 3-931370-68-2. 16.80 euros
des Eurythmieunterrichts All 4 books of scores + 4 CDs ISBN 3-931370-69-0. EUR 58.

[‘Studies on the image-of-man of eurythmy lessons’] Arnold Tirzits was for many years a player for eurythmy and
Three main themes: solist with the stage-group of the Berlin School for the art of
- Space and the connection of the human physical body to Eurythmy under Frau Reisinger. The scores of this collection
eurythmy are edited, mistakes corrected and the notation made clear-
- The eurythmy syllabus in Steiner-Waldorf Schools ly legible. As previously, pieces are available separately. New
- The zodiac and the human form edition on the occasion of the 102nd birthday of Helene
Pp. 139. EUR 15, p & p extra Reisinger of the Berlin School and Stage-Group.
To order: Rosemaria Bock
Robert Bosch Str. 101, DE-70192 Stuttgart Texts from the educational estate:
Tel. +49-711-2 57 96 91, Fax +49-711-2 53 54 80 Gedichte, Märchen und Texte
[“Poems, fiary-tales and texts”] written for Eurythmy
Die Gänsehirtin am Brunnen / Das Märchen von den drei
To the publication Ätherisches Streichen goldenen Nüssen/ Das Märchen vom blauen Schmetter-
ling/ Adventsmärchen/Gedichte/Gedichte zum großen
[‘Etheric bowing’] an additional chapter now covers: Stern/ Poems for special occasions/ Aphorisms/ Contribu-
- Etheric bowing—holding the violin between light and weight tions for the Eurythmy Conference
- Vibrato and glissando ISBN 3-931370-55-0. EUR 8.20
- The violin and its relationship to cosmic laws
- Etheric life-streaming formative forces Spiele für Kinder
- Space-forming zodiacal formative forces [‘Games for children’]
- Elemental beings and producing musical sound Einäuglein, Zweiäuglein und Dreiäuglein
Die Gänsemagd, Baldur, Wovon die Menschen leben
Magnus Schlichtig, Harmonice Mundi ISBN 3-931370-56-9. EUR 8.00.
Tel./Fax +49-7954-97 01 67
Schauspiele zur Eurythmie
[“Plays for eurythmy”]
New title from Otanes-Verlag Amor und Psyche
Spiele zur Zeiten-Wende
Gedichtesammlung für den Eurythmieunterricht ISBN 3-931370-57-7. EUR 9.40.
[“Poetry Collection for Eurythmy Lessons”]
A 4-vol collection of c. 360 poems chosen for and tested in Hans Reipert
speech eurythmy by a number of eurythmy teachers with Eurythmisten im Gespräch, 1952 – 1958
years of experience. In collaborations with the North Ger- [‘Eurythmists in discussion. 1953 – 1958]
man Eurythmy Teachers Further Training. Pp. 320, EUR 11.50 / 21 Sw. Fr. ISBN 3-931370-70-4
Bk 1, cl. 1 to 4, ISBN 3-931370-77-1127
Bk 2, cl. 5 to 8, ISBN 3-931370-78-X Obtainable from all bookshops and direct from the publishers:
Bk 3, cl. 9 to 12, ISBN 3-931370-79-8 Otanes-Verlag, Berlin
Bk 4, Ballads and Humoresques, ISBN 3-931370-80-1 Am Waldhaus 37, D-14129 Berlin
EUR 9.50 per volume Tel. +49-30-8033562, Fax +49-30-80491350
[email protected], www.otanes.de
A rendering of
Notensammlung für den Eurythmieunterricht
[collection of sheet music for eurythmy lessons], played on After much preparation, now available:
4 CDs with Arnold Tirzits (piano) and Margrit Gunkel-Borr- Die Monochordschule des Pythagoras
mann (eurythmy). und das Musikalisch-Organische
Bk. 1, 1 CD, classes 1 – 6, ISBN 3-931370-60-7
Die Wiederentdeckung der alt-griechischen Plan-
Bk. 2, 1 CD, classe 7 & 8, ISBN 3-931370-61-5
etenskalen durch Kathleen Schlesinger und die
Bk. 3, 1 CD, classe 9 & 10, ISBN 3-931370-62-3
Erweiterung der Tonkunst
Bk. 4, 1 CD, classe 11 & 12, ISBN 3-931370-63-1
EUR 8.50, per CD [“Pythagoras’ monochord tutor and the musical-organic
All 4 CDs ISBN 3-931370-64-X, EUR 30. path. The re-discovery of the planetary scales by Kathleen
Musical scores + CDs Schlesinger furthering of the art of music”] with rich docu-
Bk.1, ISBN 3-931370-65-8. 14.70 euros mentation and bibliography.
Bk.2, ISBN 3-931370-66-6. 16.80 euros BlueHill Publishing Zürich, Den Haag, Melbourne.
 P U B L I C A T I O N S
56

Distributed by Christoph Killian Wilfried Hammacher

Hofmattweg 5, CH-4144 Arlesheim Die Grundelemente der Sprachgestaltung
or by Gotthard Killian und Schauspielkunst nach Rudolf
[email protected]
EUR 32 / 57 Sw. Fr. + p. & p.
Steiner in ihrem methodischen Aufbau
Bk. I: pp. 472, Bk. II: pp. 424 . Literary examples, illust., cloth-
bound, not available separately.
New Publications Verlag am Goetheanum 2005.
Compositions for music eurythmy: ISBN 3-7235-1241-0. EUR 39 / 64 Sw. Fr.
«3 Farbtonspiele für Leier-
und Harfenorchester»
Corrections to No. 43, Michaelmas 2005
[“3 Tone-colour pieces for lyre and harp-orchestra”]
by Volker Dillmann. Wega-Verlag / Zeist, Holland. p. 23, l. 3 from below, read “Coolness is a sign of the new
The sheet music is obtainable from: anasthetic”.
Stichting Wega, afdeling Muziekuitgave p. 10f.: in the table, the signs from Cancer to Aquarius have
Stationslaan 8A, NL-3701 EP Zeist been inadvertently printed in reverse order.

This Newsletter is addressed to all trained eurythmists, all SUBSCRIPTIONS

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No. 44 Easter 2006 Germany & EU:

© 2006 Section for the Arts of Eurythmy, Speech and Music - GLS Gemeinschaftsbank
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