Eurythmy E-Book

Rudolf Steiner

• Herausgeber: Rudolf Steiner Press
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2013

Beschreibung

Rudolf Steiner's original contribution to human knowledge was based on his ability to conduct 'spiritual research', the investigation of metaphysical dimensions of existence. Samples of his work are to be found in this introductory reader in which Beth Usher brings together excerpts from Steiner's many talks and writings on Eurythmy. The volume also features an editorial introduction, commentary and notes.Chapters: In the beginning, God created out of movement; School eurythmy - a kind of spiritual gymnastics; Eurythmy therapy - the word of the heavens is the being of man; Silent soul: speaking soul. Eurythmy as a performing art; How eurythmy arises out of anthroposophy.

Leseprobe

RUDOLF STEINER (1861–1925) called his spiritual philosophy ‘anthroposophy’, meaning ‘wisdom of the human being’. As a highly developed seer, he based his work on direct knowledge and perception of spiritual dimensions. He initiated a modern and universal ‘science of spirit’, accessible to anyone willing to exercise clear and unprejudiced thinking.

From his spiritual investigations Steiner provided suggestions for the renewal of many activities, including education (both general and special), agriculture, medicine, economics, architecture, science, philosophy, religion and the arts. Today there are thousands of schools, clinics, farms and other organizations involved in practical work based on his principles. His many published works feature his research into the spiritual nature of the human being, the evolution of the world and humanity, and methods of personal development. Steiner wrote some 30 books and delivered over 6000 lectures across Europe. In 1924 he founded the General Anthroposophical Society, which today has branches throughout the world.

EURYTHMY

Also in this series:

(Practical Applications)

Agriculture

Architecture

Art

Education

Medicine

Religion

Science

Social and Political Science

(Esoteric)

Alchemy

Atlantis

Christian Rozenkreutz

The Druids

The Goddess

The Holy Grail

RUDOLF STEINER

EURYTHMY

An Introductory Reader

Compiled with an introduction, commentary and notes by Beth Usher

Sophia Books

All translations revised by Christian von Arnim

Sophia Books An imprint of Rudolf Steiner Press Hillside House, The Square Forest Row, RH18 5ES

www.rudolfstemerpress.com

Published by Rudolf Steiner Press 2012

For earlier English publications of individual selections please see Sources

The material by Rudolf Steiner was originally published in German in various volumes of the ‘GA’ (Rudolf Steiner Gesamtausgabe or Collected Works) by Rudolf Steiner Verlag, Dornach (for further information see Sources). This authorized volume is published by permission of the Rudolf Steiner Nachlassverwaltung, Dornach

This selection and translation © Rudolf Steiner Press 2006

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publishers

A catalogue record for this book is available from the British Library

ISBN: 978 1 85584 356 1

Cover photo by Charlotte Fischer, courtesy Eurythmeum Stuttgart/Goetheanum-Bühne Dornach Cover design by Andrew Morgan Typeset in Great Britain by DP Photosetting

Contents

Introduction by Beth Usher

1. In the beginning, God created out of movement

Must I remain unable to speak?

The supersensory origin of the arts

Impulses of transformation for the human being’s artistic evolution

Buddhi – wisdom of the human being, of the soul and of the spirit

About the essence of the gesture

Movement: the speech of the soul

The Cloud Illuminator

A lecture on eurythmy

The essentials of education

The inner nature of music – tone eurythmy

Eurythmy as visible speech

2. School eurythmy – a kind of spiritual gymnastics

Education towards inner freedom

Bothmer gymnastics and eurythmy

Discussions with teachers

Boys and girls at the Waldorf school

Light Course

A – Rudolf Steiner’s pencil sketch of a eurythmy figure

Wonders of the world

The genius of language

Picture writing, writing, eurythmy

Programme for a children’s performance

Supersensory physiology

3. Eurythmy therapy – the Word of the heavens is the being of man

Fundamentals of therapy

Consonant, vowel – nerve, blood

Cosmosophy – the life of the senses and the life of movement

Light and weight

The healing process

4. Silent soul: Speaking soul. Eurythmy as a performing art

Metamorphosis

IUA drawing

Costumes and colour

Lighting and costume indications

Light eurythmy

The eurythmy training

What the actor learns from eurythmy

‘In the current epoch of the earth’

5. How eurythmy arises out of anthroposophy

Introductory words to the delegates’ congress

The building and eurythmy are one

The stained glass windows

The Christmas Conference – Imagination, Inspiration, Intuition

Christmas Conference – eurythmy is a moving sculpture

Eurythmy programme for members

The Foundation Stone

About the Being of eurythmy

Notes

Sources

Further Reading

Photo Credits

Contacts

About the Editor

Note Regarding Rudolf Steiner’s Lectures

List of Illustrations

Children performing at Skidmore College, New York

Speech eurythmy

Silent introduction of Lynceus from Goethe’s Faust

Chorus from a Greek Drama

Rudolf Steiner with the first eurythmists

Goetheanum stage group, Dornach

South wing of the First Goetheanum

First Goetheanum stage

Eurythmy symphony – Orchestra

Eurythmy symphony – Flutes

Introduction

by Beth Usher

Eurythmy is a new art of movement, which developed out of Rudolf Steiner’s creative insights in the early 1900s. Though nearly a hundred years old, the art itself is still being born into new languages, new geographical regions, new life situations. The original lessons from Rudolf Steiner have not yet revealed their full scope even after lifetimes of work. One can compare this growth with the evolution of the musical fugue. Composers had been writing fugues for two hundred years before Johann Sebastian Bach created the crown with his Art of Fugue. Conscious development evolves slowly through time.

The early 1900s saw an explosion of new impulses in the art world throughout Europe, Russia and the Americas. Architecture, sculpture, painting, music, dance, drama, poetry – all broke through the old forms, creating new laws or no laws in attempts to express the soul of modern times. The century that saw these artistic explosions also was scarred by some of the greatest social catastrophes in human history. The early 2000s are seeing an art world encompassing brilliant achievements, including avant-garde music performed with the sound of furniture movements in the score, brush painting with light, dancing to poetry read through a reducer, performance art wrapping the artist in a boa constrictor on ice, chamber music interspersed with measures of the spoken word, digital electronic media in all forms laced into drama, fabric art with synthetic material never seen before. Eurythmy has entered onto this stage.

Rudolf Steiner said repeatedly that eurythmy would one day take its place beside the older arts. Where in this context, one may ask, is eurythmy’s place?

Eurythmy did not grow out of modern dance. It grew from the artistic impulse which Rudolf Steiner gave at the Theosophical Congress in Munich in 1907. Never before had an esoteric school given artistic expression to the content of spiritual teaching. When the first eurythmy lessons began in 1912, works of the visual arts, speech, architecture, music, poetry and drama had already begun to appear out of the stream of anthroposophy. As the eurythmy work developed, Rudolf Steiner invited eurythmists to his lectures. We can see now how he wove the content of his spiritual teaching into the eurythmy forms, gestures and indications. The Gospel of St Mark, the Four Mystery Dramas, Wonders of the World, Genesis, The Fifth Gospel, and Occult Reading and Hearing were some of the lecture courses given while the first eurythmists were learning to walk.

We read in the lecture excerpt in Part One, ‘Impulses of transformation for the human being’s artistic evolution’, that eurythmy contains the laws of our ‘Life Spirit’, a higher element of the human being. Life Spirit, or Buddhi, refers to a level of perfection we will only reach in the very distant future. Rudolf Steiner considered all eurythmy done in his time to be the most elementary beginning because of the nature of Life Spirit, which is present in the environment of soul and spirit, but still outside the human being. Eurythmy is an art of the future.

Eurythmy is an art of the sun. This statement is not contained in the literature, but it is this writer’s view that Rudolf Steiner intentionally juxtaposed the deepest esoteric lectures about the sun with the continually evolving work in eurythmy. ‘A Lecture on Eurythmy’ was given in the context of the Evolution of Consciousness summer course at Penmaenmawr, North Wales. The evening before, he had spoken about ‘The Interplay of Various Worlds’: ‘When anyone learns to master consciously the hidden Sun forces, so that he does not use the outspread darkness for seeing reflected images but carries into the darkness the inner light kindled in soul and spirit through meditation and concentration; when he becomes able to fill with inner soul forces the space otherwise lit up by the physical sun so that he can illuminate it with the light of his own soul and spirit, then indeed conscious Imagination arises.’

The indications from the Light Course, reproduced in Part Two, were given simultaneously with The Genius of Language lectures, both courses for teachers. A study of light, gift from the sun, is woven with a study of the word at Christmastime, 1919. Eurythmy is mentioned in the language lectures. Very quickly, the words ‘Die Sonne [sun] das Gold, diesen Tag [gold, on this day]’ follow as examples on the subsequent pages. The ‘Birth of the Light’ permeates the teacher training.

A picture of the threefold sun precedes the discussion of the zodiac in the quote from Cosmosophy, Vol. II, found in Part Three. ‘At all times, even when people had only instinctive knowledge, it was said that the sun was threefold in character, the source of light, life and love. This trinity is to be found in the sun... The life of this sun produces light in the outside world, love in our hearts, and life in our dealings with the outside world. Its location is midway between the life of breathing and the life of the circulation, as the ancients also knew. Between those two lives lies the heart, which does not act as a motor but reflects the interplay between circulation and breathing.’ The lecture continues with a discussion of the movements of the zodiac in relation to our internal organs, and how eurythmy is the direct image of the relationship human beings have to the cosmos.

In the excerpts on stage lighting in Part Four, the light, which is of the soul, is artistically expressed through the lightening of the stage picture. This does not mean one should be speaking about the sun breaking through the clouds when the stage lights become brighter. The lighting is given over to movement, a kind of light eurythmy. The eurythmist and light eurythmy together produce a lightening, the activity of the sun. Such a quality can occur in many forms of music and speech. One example of Rudolf Steiner’s numerous and wondrously varied indications for stage lighting is given in this chapter.

The final selection in this book shows the programme for the first eurythmy performance of the Foundation Stone Meditation. This verse had been ‘laid in the hearts of the members’ of the Anthroposophical Society at the Christmas Conference (December 1923) several months before. Rudolf Steiner spoke of the Mysteries of the Sun four months after the conference during the Easter festival, April 1924. The verse was performed in eurythmy for the first time at this Easter festival. The introduction to a eurythmy performance, entitled ‘Movement: the speech of the soul’, in Part One of this book, was also part of the Easter festival. The last stanza of the Foundation Stone, a powerful meditative verse in four parts, speaks of light in many forms, ‘O Light Divine, O Sun of Christ’. Christ, as Rudolf Steiner speaks of him, is the incarnation of the Word, wisdom, love itself, a ‘Supreme Being who has so purified his astral body or Kama that it has been changed into Buddhi’. (The advanced student of anthroposophy will recognize this as a transformation on a higher level than in a normal human life.) This refers us back to the beginning of the book, ‘Impulses of Transformation’, where eurythmy is described as the art proceeding from Buddhi. We may also refer to the Speech Eurythmy Course, ‘Eurythmic technique must be won out of a love for eurythmy, for in truth, everything must proceed out of love.’ The reader is free to draw his own conclusions on the thesis that we have in eurythmy the gift of an art of the sun.

Rudolf Steiner (1861–1925) was an Austrian philosopher, who has been counted among history’s ‘Great Initiates’ by Edouard Schuré in the book of that title. His insights transforming education, social thought, medicine, agriculture, philosophy and the arts have spread from a few indications to activities spanning the globe. In the midst of all his other work, he made eurythmy a priority.

He toured Europe with the first eurythmists when public performances were finally possible. The first seven years, from 1912 to 1919, were a time of intensive training and creative collaboration. Two full courses as well as indications for eurythmy within dramatic scenes from J.W. v. Goethe’s Faust gave the eurythmists a wealth of material to rehearse. Many wonderful memoirs of the first eurythmist, Lory Smits, and others, who developed the art in those early years, have been published in English. Later courses in eurythmy therapy, tone and speech eurythmy did not exhaust the scope Rudolf Steiner had intended. He spoke of his intention to give two more full eurythmy courses; and throughout, he spoke of this as a beginning.

Marie Steiner, Rudolf Steiner’s wife and co-worker, laboured with ceaseless fire to develop eurythmy as well as an art of speech arising out of anthroposophy, which so essentially completes speech eurythmy. She says of the 1924 Speech Eurythmy Course: ‘We united for this course as if for a united festival ... the entire course had the character of an immediate fresh improvisation. Drawings were quickly made on the blackboard; exercises for exemplification were carried out by the young women; everything came about in the form of conversation and collaboration, not in mere lecturing. This was often the character of instruction given by Rudolf Steiner to his students, but never in such high degree as in this course on eurythmy.’ Juliet Compton-Burnett was an English eurythmy teacher who participated in the 1924 Speech Eurythmy Course. She describes her experience: ‘Anticipation had run high, but who could have foreseen the reality? Cosmic horizons widened, and the eurythmists were carried on the wings of his spirit into undreamed-of realms, and were strengthened in their resolves when he spoke of his love for this new art which he had given to the world.’ Indeed, Marie Steiner observed, ‘eurythmy was one of the most beloved spiritual children of Rudolf Steiner’.

In addition to the five courses and several hundred introductions to performances, he drew eurythmy choreography, 1300 forms for poems in several languages and for musical selections with a variety of musical instruments. One example of a standard form and one sketch have been included in Part Four on eurythmy as a performing art. Eurythmists have since learned to create simpler forms for stage eurythmy and classroom use. In the beginning years, however, Rudolf Steiner drew all the forms that the eurythmists performed. In a memoir from his personal secretary, Günther Wachsmuth, we read, ‘Many of these forms he drew during rehearsals with chalk upon the floor of the stage, most of them, however, on a sheet of paper. Many of these sketches and drawings for the forms of eurythmy have been preserved from the earliest years and are still rendering service to artists both for purposes of teaching and also for actual programmes.’ The forms are, in themselves, teachers.

Juliet Compton-Burnett pointed to the spiritual integrity of these forms when she characterized the strictness and pliancy of Rudolf Steiner’s approach: ‘A certain eurythmist was showing a poem by Albert Steffen. As she finished, Rudolf Steiner got up and said, “That will not do”; and he went on to say that for this poem he had already given a form and this being so, no other form should be used. “For any poem there is only one true form” – his voice, stern and earnest, remains in my memory. What might have appeared a slight matter was once and for all given its full significance.’ She said, in contrast, on another occasion, he quickly changed a costume indication to accommodate the arrangement of a programme.

Eurythmy has grown into the three professions to which Rudolf Steiner refers in his many introductions to performances. As a stage art, it has soared as symphonies and operas, sagas and sonnets. The practice of eurythmy in Waldorf schools with children of all ages has spread worldwide. High school students are enthusiastically forming their own performing groups, touring even internationally. An extension of teaching adult courses has brought eurythmy into the workplace, helping working people at all levels to see each other and the challenges of their daily tasks in a new light. Eurythmy therapy has expanded into anthroposophical hospitals and clinics, with specialties developing in ophthalmology, cardiology, dentistry, psychiatry, oncology and internal medicine. Though thousands of people have experienced eurythmy through one of these professions since its inception, the art remains virtually unknown to the general population.

This volume may encourage the reader to pursue a spark of interest in what eurythmy can bring to humanity. Further reading might include exploring the history of eurythmy, as well as the fuller context of the many excerpts and individual lectures included here. Of course, doing or seeing eurythmy once or even daily over the course of decades is the best way to come to understand what is meant here.

1. In the beginning, God created out of movement

Rudolf Steiner strove to convey that everyone on earth now has the potential to directly perceive spiritual activity. Such perception can resurrect creative powers for artistic work. The art of eurythmy, when filled with such spiritual activity, so moves the human soul that it gives proof of our real participation in the supersensory world. The’ Supersensory origin of the arts’ lecture excerpt develops this thought.

One of the most essential principles of eurythmy comes in the ‘About the nature of gestures’ lecture. The poet, the artist, must bring the heart to speak. The heart does not live in the physical sounds; the heart lives in the inner relationship of the sounds. The movement is a sound stream, the flow of a river of sound. Eurythmy makes this inaudible heart stream visible.

We read in Eurythmy as Visible Speech that God makes eurythmy movements, and out of his eurythmy rises the form of the human being. We are created out of sound.

Must I remain unable to speak?

An anthroposophical book is meant to be received into inner experience. This leads to the gradual awakening of a certain understanding. It may be a very faint, inner experience. But it can – indeed, should – occur. And the greater depth gained through the exercises described in How to Know Higher Worlds1 is just that – a fortifying deepening. This is necessary for progress on the spiritual path; but a properly written anthroposophical book should awaken the spiritual life of the reader, and not merely be a collection of information. Reading it should be more than reading; it should be an experience accompanied by inner shocks, tensions and resolutions.

I realize how far the substance and inner power of my books are from always invoking such an experience in the soul of the reader. But I also know that my inner struggle over every page was to attain as much as possible in this way. I do not adopt a style that allows subjective feelings to be detected in the sentences. In writing, I subdue what comes from warmth and deeper feelings to a dry, mathematical style. This style alone can be an awakener, for the readers themselves must awaken inner warmth and feeling. They cannot let those feelings simply flow into them from a description while their attentiveness remains passive.

Artistic interests were barely cultivated at all within the Theosophical Society.2 From a certain perspective, this was completely understandable, but this had to change before a proper spiritual attitude could thrive. Members of such a society tend to focus all their interests primarily on the reality of spiritual life. In the sensory world, the human being appears to them as merely a transitory existence, severed from spirit. Artistic activity seems to exist within that severed existence. Thus, it seems to be outside of the spiritual reality that is sought. Because of this, artists did not feel at home in the Theosophical Society.

It was important to Marie von Sivers3 and to me that the arts should come to life within the society. Consequently, spirit knowledge indeed takes in the whole of human existence. All of the soul forces are stimulated. The light from inner, spiritual experience shines into the creating imagination.

But here something enters that creates hindrances. Artists have some anxiety about their imagination being illumined by the world of spirit. They prefer to remain unaware of the exercise of the soul world. And this feeling is appropriate when it is a matter of the imagination being ‘stimulated’ by the conscious thought element that has dominated culture since the beginning of the era of the consciousness soul. This ‘stimulation’ through human intellectuality has a deadening effect on art.

Just the opposite occurs, however, when directly perceived spiritual meaning fills the imagination with light. All the creative powers that have ever led to art among humanity are resurrected in this way. Marie von Sivers was truly accomplished in the art of speech formation and greatly gifted in dramatic art. A sphere of art was thus present within the anthroposophical activity, and based on this we could test the fertility of spiritual perception for art.

The evolution of the consciousness soul exposes the ‘word’ to danger from two directions. Speech serves as mediator in society and it communicates logical, intellectual knowledge. In both directions the word loses its inherent value. It must adapt to the meaning of what it is intended to express. It must allow ignorance of the fact that the sound, tone and formation of tone itself contain a reality. The beauty – the shining of the vowel and the character of the consonant – is lost in speech. The vowel loses its soul and the consonant becomes void of spirit. Speech entirely vacates the realm from which it originates – spirit. It becomes the servant of intellectual knowledge and serves a society that flees spirit. It is torn completely from the realm of art.4

True spiritual perception enters the ‘experience of word’ as if by instinct. It learns to feel its way into the vowel’s reverberation sustained by the soul and into the consonant’s painting energized by spirit. Gradually it begins to understand the mysterious evolution of speech, the mystery that at one time divine spiritual beings were able to speak to the human soul through the word, whereas now it is merely a means of communication in the physical world.

One needs enthusiasm kindled by this spiritual insight to lead the word back to its own sphere. Marie von Sivers developed such enthusiasm. Thus she brought to the anthroposophical movement the possibility of artistically cultivating speech and speech formation. In this way, the cultivation of recitation and declamation as an art was added to the activity of communicating spiritual knowledge, and this played an increasing role in anthroposophical events.

Marie von Sivers’s recitations at those events were the beginning of the impact of art on the anthroposophical movement. The dramatic performances that later took place in Munich along with the anthroposophical courses developed directly from those recitations (initially given to supplement the lectures).5

Because we could develop art through spiritual knowledge, we increasingly penetrated the truth of modern spiritual experience. Art originally grew out of dreamy, pictorial experiences of spirit. As this spirit experience receded in the course of human evolution, art had to find its way alone.6 It must find its way again to a unity with spiritual experience when, in new form, this experience becomes part of human cultural development.

The supersensory origin of the arts

If we have a narrow-minded view of the arts we create during life and see them as being connected only to the period between birth and death, we actually deprive artistic creativity of all meaning. For artistic creativity most certainly means carrying supersensory spiritual worlds into the physical world of the senses. We bring architecture, sculpture, painting, music and poetry into the world of physical experience simply because we feel the pressure of what we carry within us from pre-earthly existence, because when awake we feel the pressure of what we carry within us as a result of our spiritual life during sleep, and because we feel the pressure of something already in us that will shape us after death. That people usually do not speak about supersensory worlds simply stems from the fact that they do not understand the world of the senses either. And above all, they do not understand something that was once known to the spiritual culture of humanity before it was lost and became an external phenomenon, namely, art.

If we learn to understand art, it becomes a real proof of human immortality and of life before birth. This is what we need in order to expand our consciousness beyond the horizon of birth and death, so that we can link what we have during life on the physical earth to the life that transcends the physical plane.

If we work creatively out of such knowledge as the spiritual science of anthroposophy, which aims to understand the spiritual world and to receive it into our ideas and thoughts, into our feelings, perceptions and will, it will prepare the ground for an art that synthesizes in some way what precedes birth and what follows death.

Let’s consider the art of eurythmy, where we set the human body itself in motion. What exactly are we setting in motion? We are setting the human organism in motion; we are making its limbs move. The limbs, more than any other part of the human body, are what pass over into the life of the next incarnation. They point to the future, to what comes after death. But how do we shape the limb movements we bring forth in eurythmy? In the sense realm and in the supersensory realm we study how the larynx and all the speech organs have been brought over from the previous life and shaped by the intellectual potentials of the head and the feeling potentials of the chest. We directly link what precedes birth with what follows death. In a certain sense, we take from earthly life only the physical medium, the actual human being who is the tool or instrument for eurythmy. But we allow this human being to make manifest what we study inwardly, what is already prepared in us as a result of previous lives; we transfer this to our limbs, which are the part of us where life after death is being shaped in advance. Eurythmy shapes and moves the human organism in a way that furnishes direct external proof of our participation in the supersensory world. In having people do eurythmy, we link them directly to the supersensory world.

Wherever art is developed on the basis of a truly artistic attitude, it bears witness to our connection to the supersensory worlds. And if in our time we human beings are called upon to take the gods into our own soul forces, as it were, so that we no longer wait in pious faith for the gods to give us one thing or another, but try instead to take action as though the gods were living in our active will, then the time has indeed come, if humankind will only experience it, when we must take the step from external, objectively formed arts, as it were, to an art form that will assume quite different dimensions and forms in the future, an art form that portrays the supersensory world directly. How could it be otherwise? Spiritual science itself wants to present the supersensory directly, so it is bound to use its resources to create an art of this kind.

As for its educational applications, people who are educated along these lines will gradually come to find it quite natural to believe that they are supersensory beings, because they move their hands, arms and legs in such a way that the forces of the supersensory world are active in them. It is the soul of the human being, the supersensory soul, that begins to move in eurythmy. It is the living expression of the supersensory that comes to light in eurythmy movements.

Everything spiritual science brings us is really in inner harmony with itself. On the one hand, it brings us these things so that we may more deeply and intensely comprehend the life we are engaged in, so that we may learn to turn our gaze to the living proof of the reality of existence before birth and after death. On the other hand, it introduces our supersensory element into our will.

This is the inner cohesiveness underlying an anthroposophically oriented spiritual-scientific striving. This is how spiritual science will expand human consciousness. It will no longer be possible for people to make their way through the world as they have been doing in the age of materialism, when they have been able to survey only what takes place between birth and death. Although they may also believe in something else that promises bliss and redemption, they can form no concept of this ‘something else’. They can only listen to sentimental sermons about it; in actuality it is empty of content. Through spiritual science, human beings are meant to receive real content from the spiritual world once again. We are meant to be released from the life of abstraction, from the life that refuses to go beyond the perceptions and thoughts that lie between birth and death, from a life that at most takes in some indefinite verbal indications of the spiritual world. Spiritual science will infuse us with a consciousness that will widen our horizon and enable us to be aware of the supersensory world even as we live and work in the physical world.

It is true enough that we go through the world today knowing at, say, the age of 30 that the foundation for what we are now was laid in us when we were 10 or 15. This much we can remember. If we read something at age 30, we remember that the present moment is linked to the time 22 or 23 years ago when we were learning to read. But what we do not notice is that between birth and death we constantly have pulsing within us the experiences we underwent between our last death and our present birth. Let’s look at what has been born out of these forces in architecture and in sculpture. If we understand this correctly, we will also be able to apply it to our lives in the right way and to achieve once again a sense of how prose is fashioned into the rhythm, metre, alliteration and assonance of poetry, even though this may be considered superfluous to ordinary prosaic life. Then we will form the right link between this special nuance of feeling and the immortal kernel of our being which we carry with us through death. We will say that it would be impossible for anyone to become a poet unless all human beings possessed the actual creative element of the poet, namely the force that already resides within us but does not become outwardly alive until after death.7

This draws the supersensory into our ordinary consciousness, which must expand again if humanity does not intend to sink further into the depths we have plunged into as a result of a contracted consciousness that makes us live only in what happens between birth and death, allowing us at most to hear preaching about what is present in the supersensory world.

You see, we encounter spiritual science everywhere, whenever we speak about the most important cultural needs of our time.

Impulses of transformation for the human being’s artistic evolution

In the course of the following considerations, I shall be speaking to you about the important impulses of transformation present in our era for the artistic evolution of humankind. I would like to connect this with what may occur to you as a result of your own observation of this building (the Goetheanum), or rather with that of which this building is merely a beginning. But as a basis for these considerations it will be necessary to establish a connection between art and the knowledge we have gained about the human being and his relationship with the world in general. I will begin today with these seemingly more theoretical considerations and continue tomorrow with our actual theme concerning the impulses of transformation in artistic development.

Though I said that I would begin today with a seemingly more theoretical basis, in actual fact anyone who looks upon spiritual science as something living will find these preliminaries very much alive and not at all theoretical. They will, however, only be quite clear to those for whom the ideas of physical body, etheric body, astral body, ego, and so on, are not mere designations in a diagram of the human being’s being but the expression of actual experiences in feelings and ideas relating to the spiritual world.

If we consider the different forms of art, it appears that architecture is the one that has become most separated from the human being as a whole. Architecture is separated from the human being because it is placed at the service of our external impulses, either those of utility, which call for utilitarian structures, or those having idealistic aims, as in the case of religious buildings. We shall see during the course of the lecture how other forms of art have a more intimate connection with the real being of the human being than has architecture. Architecture is in some way detached from what we describe as the laws of the human being’s inner being. And yet, seen from the point of view of spiritual science, this external character of architecture very largely disappears.

When we begin to look at the human being, the part that first strikes us, because it is the most outward, is the physical body. But this physical body is permeated and penetrated and filled by the etheric body. The physical body might simply be called a spatial body or described as being organized in space. But the etheric body, which dwells in the physical body and, as you know, also extends beyond the limits of the physical body and is intimately connected with the whole cosmos, cannot be contemplated without the aid of time. Basically everything in the etheric body is rhythm, a cyclical rhythm of movement or activity, and it has a spatial character only in as far as it inhabits the physical body. For human imaginative perception, it is true, the etheric body also has to be conceived in spatial pictures, but these do not show its essential nature, which is cyclic, rhythmical, moving in time.

Music takes up no space but is solely present in time. In the same way, what matters with regard to the human etheric body in reality (not in the imaginative picture we draw) is mobility, movement, formative activity in rhythmic or musical sequence, in fact the quality of time. Of course, this is a difficult thing for the human mind to conceive, accustomed as it is to relating everything to space; but in order to gain a clear concept of the etheric body we must try much harder to allow musical ideas rather than spatial ideas to come to our aid.

In order to bring to the fore another characteristic of the etheric body it can be said that, occupying the physical body and extending, as it does, its activity and rhythmical play into this physical body, it is above all a body of forces. It is a flowing-out of forces, a manifestation of forces, and we notice them in a number of phenomena that occur during the course of a person’s life. One of these phenomena, to which not much attention is paid by external science or from an outward view of the world, but one which we have often stressed, is the ability of the human being to stand upright. On entering the world at birth we are not yet able to assume this vertical posture, which is the most important of all postures for the human being. We have to acquire the ability. It is true that this is initiated by the astral body, which as it were transfers its power of upward extension to the etheric body, but it is the latter which in the course of time sets about raising the physical body into a vertical position. Here we see the living interplay of the astral and etheric bodies in the formation of the physical body.

But this acquisition of the upright posture is only the most striking of these phenomena. Whenever we lift a hand a similar process takes place. In our ego we can only hold the thought of lifting a hand; this thought must immediately act upon the astral body, and the astral body transfers its activity, which lives in it as an impulse, to the etheric body. And what happens then? Let us assume that someone is holding his hand in a horizontal position. Now he forms the idea: I want to raise my hand a little bit higher. The idea, which in life is followed by the act of lifting the hand, passes over to the astral body; there an impulse arises and passes over from the astral body to the etheric body. And now the following happens in the etheric body: the hand is horizontal to begin with; then the etheric body is drawn up higher, followed by the movement of the physical hand after what occurs first as a development of force in the etheric body. The physical hand follows the etheric.8