Eurythmy Therapy E-Book

Rudolf Steiner

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

Beschreibung

Created in 1911, eurythmy was developed for years as an artistic and educational discipline. Although Rudolf Steiner pointed out its healing aspects from the very beginning, it was only in 1921 that he gave a course of lectures that gave the art of eurythmy a vital new application. To the assembled eurythmists and doctors, he presented what one participant described as '...a complete and detailed method of eurythmy therapy, in which we could directly experience that even today the creative and therapeutic power of the word ... is still at work'.Steiner's comprehensive lectures, republished here in a thoroughly revised translation, describe the principles of therapeutic eurythmy, giving many specific exercises. Primarily intended for practising eurythmists, these lectures also contain much material of particular interest. Steiner reveals the intricacies of rhythmic interplay between human physiology and the life-forces in the world around us. He describes the qualities of language and the dynamism contained in the individual vowels and consonants, elucidating their relationship with eurythmical movements and human experience. Through such movements, individuals are able to access the healing etheric forces.The exercises, referred to by Steiner as 'inner gymnastics', contain enormous potential for psychological and physiological well-being. Gaining ever-wider recognition today, they complement conventional medicine, offering a therapeutic process concerned with mind, soul and body.This new edition of these important lectures - previously published under the title Curative Eurythmy - includes an appendix with reminiscences by early eurythmists, as well as additional commentary from Dr Walter Kugler.

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 THERAPY

Eight Lectures given in Dornach, Switzerland, between 12 and 18 April 1921 and in Stuttgart, Germany, on 28 October 1922

RUDOLF STEINER

RUDOLF STEINER PRESS

Translated by Alan Stott

Rudolf Steiner Press Hillside House, The Square Forest Row, RH18 5ES

www.rudolfsteinerpress.com

Second edition published by Rudolf Steiner Press 2009

Previously published in an earlier translation under the title Curative Eurythmy by Rudolf Steiner Press in 1983

Originally published in German under the title Heileurythmie (volume 315 in the Rudolf Steiner Gesamtausgabe or Collected Works) by Rudolf Steiner Verlag, Dornach. This authorized translation, based on the fifth edition, is published by permission of the Rudolf Steiner Nachlassverwaltung, Dornach

Translation © Rudolf Steiner Press 2009

All rights reserved. No part of this publication maybe 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 346 2

Cover by Andrew Morgan; cover photo by John Playfoot Typeset by DP Photosetting, Neath, West Glamorgan

Contents

Synopsis of the Lectures

Notes on the Translation

Pronunciation of some German Sounds

Lecture 1

Lecture 2

Lecture 3

Lecture 4

Lecture 5

Lecture 6

Lecture 7

Lecture 8

How Eurythmy Therapy Came About, and its Significance: Reports by Erna van Deventer-Wolfram, Elisabeth Baumann and Isabella de Jaager

Background to the Text and Drawings

Notes

Note on Rudolf Steiner’s Lectures

Synopsis of the Lectures

Lecture 1

Dornach, 12 April 1921, p.m.

The relationship of the health-stimulating, therapeutic element of eurythmy to the educational and artistic element of eurythmy. The larynx and metamorphosis. The larynx as an etheric, second human being within man. The frontal lobe and the thyroid. The eurythmy carried out by the larynx in speaking and singing. Stasis of the head and dynamics of the rhythmic system; rhythm and a-rhythm and their connections with thinking. The actual effect on the human being of logic, syntax and prose, and rhythm and poetry. The falling apart of the coherence of a system striving forwards and backwards. Iambic and trochaic exercises. The connection between movement of the limbs and the manner of thinking. Digestion and headaches. Writing with the feet. ‘I-A-O’ exercises. What is felt in the limbs as the essential element of eurythmical movement. The primal A (eh) in the crossing of the axes of vision. Eurythmy in groups for health and therapy. Form of the organs and movement-forms.

Lecture 2

Dornach, 13 April 1921, p.m.

The character of vowels and consonants. Speech and movement in close connection in earlier times; this becomes looser in our time. Bringing the body into movement again in eurythmy. Bringing the various eurythmical vowels into the realm of therapy: ‘I’, ‘U’, ‘O’, ‘E’, ‘A’. The arm movements and indications for the individual vowels and doing vowels in general. Leg movements to the vowel exercises. Inner photography as the effective therapeutic element in doing consonants. ‘M’, ‘S’, ‘H’ in relationship to Lucifer and Ahriman.

Lecture 3

Dornach, 14 April 1921, p.m.

The coming-to-grips with the outer world in the consonantal element in speech; in speaking vowels, the coming to oneself through an inner activity. The three principles at work in the consonants and their effect. The vowels tingeing the sounds of speech; movement as the polar opposite to actual speaking—blowing sounds, plosives, vibrating and wave sounds; lip, teeth and palate sounds and the mutual alternation of the differentiating principle. The physiological processes in speaking the vowels ‘A’, ‘U’, ‘O’, ‘E’ and their polar effect in eurythmy therapy. Movement in the will and movement in the intellect. The losing of the formative quality of language by the intellect as the inner cause of illness. Becoming ill through civilization and the stimulation to health of eurythmy.

Lecture 4

Dornach, 15 April 1921, p.m.

Vowels work directly upon the rhythmic organism; the consonants work upon it via the organism of the metabolism and limbs. The eurythmical therapeutic metamorphosis of the movement of the consonants: ‘B/P’, ‘D/T’, ‘G/K/Q’, ‘S’, ‘F, ‘R’, ‘L’, ‘H’, ‘M’, ‘N’, ‘Sh’ and their effects. Connections between the system of movement and the digestive system. Eurythmy as ensouled gymnastics. Speaking vowels before the eurythmy therapy vowel exercise. Afterwards, listening with the soul and spirit to what has moved. Bringing life and movement into the human etheric body. The ‘R’-movement and its use in education. Regulating an over-strong effect in therapy.

Lecture 5

Dornach, 16 April 1921, p.m.

Twelve eurythmical exercises to work from the soul element into the whole constitution of the organism via the etheric body—judgement; expression of will; movement of feeling— ‘E’; movement of wish—‘U’; movement of bending and stretching with ‘B’, ‘R’, ‘M’; dexterity—‘E’; ‘E’ and ‘O’ as forms to move in space; ‘H-A’ and ‘A-H’. Making the etheric body supple. The application of these exercises in education, eurythmy for health and therapy. Physiological gymnastics as the school of materialism; the effect of eurythmical gymnastics for human self-knowledge and self-control. Some questions regarding special cases answered. Advice to alternate the exercises and how long they should be kept up.

Lecture 6

Dornach, 17 April 1921, p.m.

The initial, spiritually orientated physiological element of eurythmy, with the example of Goethe’s poem Über allen Gipfeln ist Ruh. Active listening is a condition akin to sleep, similar to Imagining. The ether-movements of the person who is asleep or who, while awake, is listening, are made visible by the physical body in carrying out eurythmy. Stimulation of the forces of growth in children; rejuvenating forces in adults. Effect of doing the vowels on the organs of the rhythmic system. Listening to the consonants. Effect of carrying out the consonants in eurythmy on the head-organization. The process of digestion as the activity of transforming matter which unfolds towards the rhythmic system. Activity of the human will. The forces of egoism in their significance for the human organism. The forces of crystallization and the sculpting, plastic forces of the organs. Spiritual activity and physical activity. Rhythmic alternation of doing consonants and vowels in eurythmy. The effect on the human aura.

Lecture 7

Dornach, 18 April 1921, p.m. (held for physicians and medical students)

The forming of the earth and the formation of metals. The formative forces raying in from the cosmos concentrate around a centre through the forces of consolidation. The pushing forces of magnesium; the rounding forces of fluorine. The process of secretion as the mediating element between the formative forces and the forces of consolidation. The process of perception as a continuation of the process of becoming (formative forces—secretion—consolidation) and its reversal in ascending to Imagination, Inspiration and Intuition. The unconscious forces of Imagination called up through consonantal movements; case examples. Normalizing effect of doing the vowels in eurythmy on deformities of the rhythmic system. The shining process of the kidneys and occult drawings. Mechthild von Magdeburg. Doing beautiful poems in eurythmy, the effect on congenital illness. Changes in the breathing rhythm through doing the vowels in eurythmy; the breathing exercises of yoga. Penetrating power of conviction in relation to mainstream medicine. Dismissal of quacks within the anthroposophical movement.

Lecture 8

Stuttgart, 28 October 1922 (during the ‘medical week’ for physicians and medical students)

The meaning and significance of eurythmy therapy. The collaboration in human speech of the system of digestion and the system of the nerves and the senses. Eurythmy as the metamorphosis of the usual language of speech sounds through strengthening the will-nature and weakening the life of mental images. The general healthy effect of eurythmy therapy. Reflecting within of the eurythmical forming of eurythmy therapy through repetition. The practice of eurythmy therapy through a physician or the inner agreement with the physician. Healthy diagnosis. The working together of the vowel and consonantal elements with the example of teeth, ‘L’, ‘A’, ‘O’; with the example of kidney infection, ‘S’, ‘A’, ‘B’, ‘P’. The human organs observed in the polarity of centrifugal and centripetal dynamics; mutual regulation through eurythmy therapy. Sensitivity and an artistic disposition. Eurythmy therapy and established therapy. Massage. Gymnastics. ‘E’-movement for strengthening; ‘I’-movement to associate the right and left sides of the organism, with index finger and large toe, with the eyes. The complete ‘U’-form in eurythmy therapy, standing to attention. ‘O’-form, feeling the entire muscular system. Consciousness as a factor in the healing process. ‘E’-forms and ‘U’-forms regulate the connecting activities of the astral and etheric organism. Gentle eurythmy therapy with pregnant women; gynaecological problems; abdominal complaints. A warning against overrating the method; dilettantism. A healthy physiology as the basis for a therapy working in the light of day. Meeting misunderstandings.

Notes on the Translation

This is a new translation of eight lectures on eurythmy therapy, seven of which were held in Dornach during the afternoons of 12-18 April 1921, and one in Stuttgart, 28 October 1922. These lectures are included in the Catalogue of Rudolf Steiner’s Complete Works as No. 315 (GA 315), previously published in an English translation by Kristina Krohn under the title Curative Eurythmy, London, Rudolf Steiner Press, 1983. The previous translation has also been consulted in making the present translation.

The German text used in the present translation is the 5th edition (Dornach 2003), which is published together with the therapy lectures for doctors given on the same days during the mornings (GA 313) (5th ed. Dornach 2001). Both these lecture courses, GA 313 and GA 315, are also available in the paperback series No. 755 (ISBN 3-7274-7550-1). The 16 lectures are published in chronological order. This thoroughly checked and revised German edition includes a note to the new edition written by Walter Kugler of the Rudolf Steiner Nachlassverwaltung, Dornach, which is responsible for Steiner’s literary estate. Dr Kugler revised and enlarged the section of notes which form the basis of those in the present edition.

Some linguistic points of the present translation

This translation attempts accurately to render the lecturer’s meaning in contemporary English as used in Britain. The earlier, more literal translation of Heileurythmie, ‘curative eurythmy’, was changed to ‘eurythmy therapy’ over 25 years ago by members of the profession in Britain, since eurythmists technically do not claim to ‘heal’ but to offer therapy. The current term in America is ‘therapeutic eurythmy’. Again, hygienisch, ‘hygienic’, could suggest unsavoury associations in English. As a rule, this translation avoids the term, as it does the word ‘cleansing’; for hygienische Eurythmie the phrase ‘eurythmy for health’ is employed as a workable alternative. Methodisch-didaktisch is a customary term relating to educational methods and instruction, and these English terms are the ones used here. Again, ‘pedagogy’ (from the Greek), a normal term for American and other English-users who have closer historical links to the German language, is in English a formal term for the more widespread term ‘education’. ‘Pedagogy’ and ‘pedagogical’ is used more in moral contexts—a pedagogical event or course does you good, perhaps teaching patience and similar things. To English ears ‘pedagogical’, sounding so close to ‘pedantic’, has fallen out of general use today.

‘Eurythmie’, the adjective, is as innocent as, say, ‘gymnastic’, but since a well-known pop group has made its mark in general consciousness, the suggestion has been taken up here to spell the adjective ‘eurythmical’ in the attempt to avoid any irrelevant associations.

In this translation, for das Ich both of the following are used—‘the “I”’ (with the inverted commas, since the first-person pronoun is not usually a noun) and the Latin word ‘the ego’ (used by many earlier translators). Needless to say, the latter is not used here with the meaning it has in some schools of psychology. Yet this word, ‘the ego’, is sometimes chosen here, especially in order to avoid any confusion when the vowel ‘I’ (ee) enters the discussion. Imagination, Inspiration and Intuition, as three technical terms in spiritual science, are distinguished with a capital letter.

For plastisch, the equivalent word is ‘plastic’, meaning ‘sculptural, modelled’. Despite the influence of industrial overproduction on our language, the word ‘plastic’ is nevertheless retained here, especially in Lecture 7 where it is used in the interests of accuracy. However, ‘sculptural’ has also been used in this translation. In Lecture 7 Absonderung (‘separating’) is translated as ‘secretion’, Aussonderung (‘expelling’) as ‘excretion’, Krafte des Befestigens is rendered ‘forces of consolidation’ but could also be translated as ‘forces of binding or anchoring’.

In the interests of accuracy of translation, as opposed to the pedantries of transliteration (abhorred by Steiner himself) the editor has reduced the ‘musts’ of Steiner’s perfectly polite German, employed more participles as natural for English, broken up occasional over-long sentences into manageable units, and tidied-up generally—all in the interests of serving the lecturer’s meaning. As with the previous translations of texts by Rudolf Steiner on eurythmy— Eurythmy as Visible Singing, Eurythmy as Visible Speech, including the early accounts collected in Eurythmy: Its birth and development—what has been learned from consultation with colleagues has been assimilated. The aim has been to steer a middle way in adapting an oral style to a written one, yet to preserve the direct freshness of the spoken word.

For this translation, intended in the first place for practising eurythmy therapists, doctors and eurythmists, a few difficult words from the original German text are included within curved brackets ( ). The occasional additions by the translators and by the German and English editors are enclosed in square brackets [ ] in the text, or relegated to footnotes. At the final count, all vagaries and all errors of carelessness and ignorance are to be laid at my door.

Back in 1808, the poet and seminal thinker S.T. Coleridge complained that the medicine of his day was ‘too much confined to passive works’. He thought ‘a Gymnastic Medicine is wanting’ to activate ‘the motive faculties’. Steiner’s basic impulse to medicine, which includes the inauguration of eurythmy therapy, appeals to the primal, limitless source of healing within every human being.

Alan Stott

Stourbridge, Michaelmas 2008

Pronunciation of some German Sounds

The sounds are given throughout the English text as they are written in original German. The approximate pronunciations are as follows:

A, ah as in ‘father’

E, a as in ‘say’

I, ee as in ‘feet’

O, oh as ‘load’

U, oo as in ‘lute’

EI, i as in ‘light’

AU, ow as in ‘how’

EU, similar to oi as in ‘joy’, or to Fr. ’jeu’

V similar to ‘f ’

Lecture 1

Dornach, 12 April 1921

During these afternoons, I wish to present the first seeds of a eurythmy therapy. Today I will give a kind of introduction; what we gain from it will be developed into definite forms over the next days. First of all, I would draw attention to some basic matters. What has been practised hitherto is eurythmy as an art;1 as such it should be accepted along with educational eurythmy suited for children, since what has been developed until now as eurythmy is in every way drawn out of the healthily constituted human being. We will see that certain points can be established. By these means it will be possible to distil from the eurythmical discipline a healthy and therapeutic discipline. It is possible to transform certain artistic forms in one direction or another to become what can be called a eurythmy therapy.

It will be essential, of course, to emphasize that artistic eurythmy—which essentially expresses that element inherent in the formation and tendencies to movement of the human body—is that which has to be deemed correct for the development of the human organism as soul, spirit and body, just as it is appropriate for visual presentation. Yet it is also possible to work towards a eurythmy therapy that will be of extensive use in treating various chronic and acute conditions. It will prove to be especially important and pertinent in those specific cases of impending illnesses and tendencies to illness, which we attempt to treat prophylactically through eurythmy. Here is the point at which the educational element in eurythmy flows gradually over into a healthy and therapeutic activity.

However, for those who wish to practise artistic eurythmy, I want specifically to emphasize that when they do artistic eurythmy they will have thoroughly to forget what they have gained from these present sessions. Precisely in this area we have to maintain a strict separation between those goals which we pursue in health and therapy and that artistic quality which we have to strive to attain in eurythmy. Anyone who persists in mixing the two will first of all ruin his/her artistic ability in eurythmy, and secondly find him/herself unable to achieve anything of importance in respect to its healthy and therapeutic element. Apart from this it will be necessary to acquire some physiological knowledge—which will transform itself into a feeling for the processes forming the human organism—in order to apply the healthy and therapeutic side of eurythmy practically, as we will see in the following lectures.

After these prefatory remarks, I would like to speak more specifically about what may be considered the basis for human eurythmy itself, since it appears to me to be pertinent to the goals we wish to attain. If you wish to understand what eurythmy is in its various aspects, you have first of all to understand the human larynx.2 We will come to know the other human vocal organs precisely through the series of our exercises relating to the larynx. But the first thing we must obtain will be a certain knowledge of the human larynx and its importance generally for the human organization. There is a much too strong tendency to regard each human organ as a thing unto itself. But that isn’t the case; that is not how a human organ lives. Every human organ is a member of the whole organization and, at the same time, a metamorphosed variation of certain other organs. Basically, every self-contained human organ is a metamorphosis of other self-contained human organs. Nevertheless, the case is that certain human organs and groups of organs prove to carry this metamorphic character more exactly within them, more precisely, I would like to say, and others less precisely. The larynx is one organ where you can penetrate through into the essence of the human organism solely through properly understanding metamorphosis.3

Recall from your anatomical and physiological knowledge how uniquely the human larynx is formed. What I wish to convey can only be grasped through a Goethean contemplation of the human larynx. You will see that it is possible, if you make the effort to attain this Goethean contemplation of the organs involved, to which we will now direct our attention. Taking the larynx initially as an upwards-directed extension of the windpipe, and studying its forms, you will discover that it may be characterized as a reversed, a from-front-to-back reversed, piece of the human organism—from another place, another piece of the human organization turned around. Picture to yourself the back of the human head, including the auricular parts, and regard what you are picturing to yourself as the back of the human head, including the auricular parts—in so far as these are localized in this part of the human being—excluding the frontal lobe* for the moment, and extending downwards so that it becomes the human ribcage with its vertebrae, including the beginnings of the ribs which have the much softer breastbone to the front that lower down falls away altogether. Picture to yourself this less clearly defined system of organs that I have presented to you—the posterior part of the head including the auditory parts, broadening out into the ribcage below.