The art of eurythmy

By Seth Morrison

he art of Eurythmy, new to American eyes, has been performed on European stages since the early part of this century. Developed by the Austrian philosopher and educator, Rudolf Steiner, it came into being at a time when dance sought out new forms for its further evolution. Eurythmy, however, did not grow out of the traditions of ballet or folk dance, but brought entirely new considerations to the art of body movement not formerly explored.

Eurythmy seeks to discover the relationships of speech and music to the human being by expressing their inherent laws through artistic movement. By discovering these laws and finding their components in expressive movement, the eurythmist becomes a medium for a poem or composition. The goal is to make music and speech visible, to add another dimension to them. Therefore, the eurythmist’s first concern is not self-expression. Instead, skillful and tasteful interpretation born out of the structure of verse and music itself is the intention. The artist seeks to become transparent for the beauty of poetry and music.

The lawfulness of eurythmy gives the distinct impression of discipline and fluidity, as each gesture and movement glides into the next. This way of moving does not arise from a gymnastic approach to the body nor from movement based upon emotion. The eurythmist finds movements which arise directly from the poem or music, revealing its distinct individual style and composition. A reunion of that which moves through air as tone or language with the movements of the body gives rise to an aesthetic experience on stage.

Eurythmy can be performed by a solo artist or in groups. Pieces of music as well as verse benefit from a group choreography. When eurythmists perform in chorus, wholly new elements must be considered. Eurythmy choreography gives attention to what comes into being between the different artists. Directions of movement create forms in space so that the whole spatial body of the stage becomes important. An atmosphere is born, arising from the movements of the eurythmists.

The mood and style of each piece is enhanced by the choice of colors in the costume which can be further varied by changing colored lights. The whole experience of watching eurythmy is one of seeing colorful figures moving in a world of color.

The technique of eurythmy is given by the elements of speech and music. In poetry, speech sounds, words, rhythm and all that the genius of the poet brings to language are essential to making a poem visible. The sculptural qualities of words and lines of verse become imaginative relationships in space. An intimate knowledge of a poem and its poet is necessary in order to give a true expression through eurythmy.

The approach to eurythmy as visible music is somewhat different. The elements of melody, rhythm and beat form the architecture of music; it is not a static form but an ever-changing structure in time. Eurythmy transforms these relationships into spatial values. Again, new discoveries which demand expression arise: music eurythmy also expresses the inaudible intentions of music, that which is not heard. The intervals, inner tensions between the tones of a melody, are shown as specific movements of the arms and body. Musical rests, which become creative non-sounding temporal intervals for the eurythmist, also are expressed, deepening the experience of music.

Although eurythmy was originally conceived as a performing art, it found its way into education and therapy. As early as the year 1919, private schools known throughout the world as Waldorf or Rudolf Steiner Schools included eurythmy in their curriculum for children. In its pedagogic form, eurythmy is not a performing art but a social one, a joyful sharing in the art of moving together. The non-mechanical, imaginative approach to movement enlivens the childÕs self- and social awareness. It is an enjoyable activity supporting music and language skills.

In its therapeutic mode, eurythmy is again modified. Specific movements taken out of language and music are intensified and practiced in such a way that the human organism is influenced. Therapeutic eurythmy is also new to this continent but has been successfully applied in hospitals, clinics and schools in Europe for sixty years.

Eurythmy as an art is also available to the public. Courses are given in speech and music eurythmy. In many parts of the world eurythmy is offered in the workplace as a counterbalance to immobility and fatigue. In this way, eurythmy seeks to be beneficial to society on many levels.