Rudolf Steiner Eurythmy as visible speech 15 lectures given in Dornach in 1924 GA 279
The man is a form that has taken place in the movement. Eurythmy is an extension of God governmental movement, the divine human form of education. Through her man comes closer to the divine than he could have done without evrit mission.
M. Steiner Preface to the first edition (1927) It was especially difficult task to combine these lectures, which appeared to interact with a live lecturer and representing. They cheat were no intention to give an encyclopedic overview of the entire field of Eurythmy at the time when the survey was the need for all that was done for a number of years and entered the world of various teacher of.All this is subject to testing and correcting, and "should be given the sum of the main areas derived
entirely from the nature of eurythmy." Rudolf Steiner in the last lecture of this series said that he wanted to give lectures, mainly a form that would show how eurythmy techniques must be developed in the love of Eurythmy how things should proceed from love. His words came pouring out of love and, carrying aid produced work, which itself required a detailed inspection. Until now, there were no verbatim record of the individual instruction with which Rudolf Steiner introduced the art to life. In 1912, he was engaged in 9:00 with a seventeen year old girl who was his job to help his younger sisters after the death of his father. She wanted to devote himself to some art that is associated with a movement that did not come from a modern materialistic impulses nancy.This fact was the impetus for the bringing of gifts from which sprang the eurythmy. I was invited to take part in these lessons. They contain the basic elements of sound production, and some of the exercises that are included in the educational part of eurythmy Education: wasps basic proposition of standing, walking, running, some of the specifics of how to keep themselves and take up space, a lot of exercises with a stick, you derzhivanie beat and rhythm.Some ladies have made the first disciples evritmistki, these provisions have developed teaching part eurythmy. They then moved to the sound development of poems. This was the first phase of eurythmy education. From time to time he shows anything Wali, R. Steiner gave encouraging reviews, corrected, answered to the questions.The second phase began with the development of eurythmy study youth Dogo art in Dornach, at the Goetheanum.The first group of young teaching Telnice requested and received further instructions, which concerned mainly the dismemberment of words, word association, speech formation, constructed eniya stanzas new group forms, and so on.With all of this, they began to speak, but the war was soon cut short their activities. To save the young art and forced to withdraw from the exercise of inactivity, it became necessary to my participation in them. This task was in front of me, as a matter of
course, as something connected with fate, because eurythmy required a new reading (recitation), the path to which I was to find and develop. It became clear as the high value of Eurythmy use source for the revival of all the arts.And IT Hurts to See That the zeal of Young eurythmists was paralyzed for A number of years of War. For a temporary perverted taste was not the best healing agents, as is the new art, which reverts back to the original source to the creative forces and the forces of nature.It is a tremendous blessing to humans. So, for one half of the year, I worked with several E young ladies in Germany, and for the other half of the year - at the Goetheanum in Dornach, to give support and assistance of R. Steiner, to which we have always been able to handle all of our questions.All instruction R. Steiner, united in the form of a book, written Annemarie Dubach-Donath - one of the most experienced and prominent eurythmists, the second in a series of young women who have devoted themselves to the study of eurythmy.In the near future, this book will appear in the philosophical and anthroposophic edition ment entitled "Basic elements of eurythmy."It is needed to evaluate the premise, the foundation for this work, which it needs in order to be understood, and that without this foundation does not have the necessary completeness. This series of lectures, we gather as a general celebration. Rudolf Steiner was asked a lot of questions. Were Undergo you review and set the consensual views on a number of issues which have caused different interpretations.Thus, whole bore characterized ter some improvisation.The board quickly pounced drawings, youth Dyje ladies played with demonstration exercises.All took place in the form IU exchange views and work together, rather than teaching.The teaching of Rudolf Steiner often had this form. But it never was not of such a nature as far as during the reading of this course eurythmy. It is likely, he would demand that the content of these lectures was the construction superintendent ted, experienced, handled and transferred to other persons.Now, however, when he left us, all expressed
directly to them, for us is extremely valuable. Even in the case where the words may be transferred only fragmentary and distorted (as in the course of which time all interrupt Xia gestures and exercises), reach us glimpses of the various links, and we connect the top and the depth that would be lost if it were transferred to the words of another person.Due to the transfer of his message in the first original form of podosnov translucent world of mystery.Thus, he and after his death brings the sacrifice that had to bear throughout his life: to tell people scattered pieces of his spirit in the records of others. Those whose lives have fed his spirit, extorted from him the sacrifice. No one knows what it cost him. But the sacrifice was. It contains that necessary for the wisdom of our time, which is down to the smallest detail reveals the links between the world and the human com.It gives a modern mankind, which can not be without a solid record store in memory the words of the spirit - that treasure Mudros tee, which gives him the opportunity to ascend to a more specific re majoring spirit.It contains a fiery, life-awakening spark. Eurythmy was one of the most beloved spiritual children of Rudolf Steiner. From small beginnings it has developed quite organically, the germ for the growth of com, and turned into a sturdy trunk, due to its inherent healthy ones full of life and as a result of diligent work of representing it.She imposing razhivala every person she was given, and compelled them more and more from all brasyvat private.The arbitrariness had no place in it. Its inherent dimension legislation stemmed from the spiritual necessities, and it readily accepted, by the fact that these experienced it necessary, have experienced God.Because of this she has awakened such enthusiasm and attracted a lot of samootver mately give her labors, which had in turn possibilities of the increasingly expanding the scope of their activities.Along with the recitation, she expanded into music and opened her own ways and possibilities of expression. , A new illuminating art, subordinate nennoe eurythmy laws style.Art in simplicity, ennobled tion, devoid of arbitrariness, the art apparel,
built on the base color and the color moods O eurythmy.In conjunction with the drama it created something that expresses the essence of what is usually on the right eludes sensitivity venous method of expression.It became possible to depict the impact on life on earth and transcendental that is inferior sense. So, over the years, we have been able to work on the stage, which arose in large carpentry shop at the Goetheanum, all the scenes from Faust, which manifests Xia extrasensory and which are usually omitted or distorted.Novel cally Walpurgis Night bloomed unexpectedly colorful life, as well as the classical Walpurgis Night, with its wealth of different visions.Elves, angels and heavenly hordes began to appear in these statements simply sublime and convincing. The more we worked and worked, the more we receive. Each new desire, turned into action generated given new gifts from a benevolent benefactor.Opportunities to work was so much that the time we had, did not have enough lo. After years of incessant training and performing on stage with fellow like-minded evritmisty eurythmy could make available to the public. Got a very strong impression. She met or inspiration, or a passionate reaction. Nobody remained indifferent. She threatened to ostracism of those in power in the field of culture. In most cases, the order was given to the press to write against it, even when they themselves,
by
their
admission,
treated
her
often
in
the
animation
of.Representatives of the neighboring arts were part of a deep entrainment Chena and partly treated her aggressively ironic.Comrades in the shop who wanted to reform, have felt that their contrived systems yr gives birth to some unknown and the future of full power.Treat her open mind - I thank God that there was such a pure and benefit native art.Children in most cases asked the question, whether it is not angels, which they were told, and the loud "Oh!" and "Oh", expressing their delight, served as a living testimony of their experiences. In the ballets on necks of modern civilization is the art produced the same effect as light and flame.Many
princes night sizzled and emitted a poison, and vice versa, as if bathed in the healing waters, sighing those who sought to extricate himself from the lowlands of our culture. The spirit of his way in this art and has provided cleansing and revitalizing experience ... The occasion would have it, I wrote these words in London. London, the world capital of life, only that I had on impact. This kvintes Sentsov that created our modern civilization in the sense zhizneu confirm, in the sense of the use of material life.Everyday life of a world city and its business is booming and traffic is insane. It is now taken for granted. However, threatening to our human Humanity is: everywhere roars radio, phonograph bleats, stranded repents film.The car won on all fronts. Even through art properties of each attempt to make something alive quickly glossed over and mechanized.Picture of ancient times is the performance of early music on old instruments, staged in the beautiful Hall. Rudolf Steiner in London. Representing (not Anthroposophists) in costumes marching about being played soulful, heartfelt quiet muse ku, which is not in a hurry, spends as much time as she needs and is committed to deepening the contemplative life.It has an antique effect, and if once again raise its modern nerves to the same oschu perturbations of the drop and all affectation, it will impact positively.From the time of the music industry, it has as many similarities as are its long, wide dress sborennye previous years, which to this day touches painters, with long legs stilted, over which E is high at the knees begin modern dress.These foot on the stage, when viewed from the bottom of the stalls, produce terribly persuasive impression tion.They are set on purpose to attract the eyes. The fact that this is in addition to the treatment of women, are attracted to the modern salon play less attention. If she is still young, this lady is willing to fall apart on upholstered furniture, scoring his legs so that the knee is visible just above the small cap or helmet-shingled boyish head. If this show is repeated pairs of legs, the case with the aesthetics of
situation, of course, is truly quite bad. However, all this is just ugly. Ca mine is bad is that the mechanical noisy music that rumbles on all gramophones world, various mechanical devices, already occupied even in many theaters of London's elegant place the orchestra has an impact on the language and gesture.At intermission she religiously abruptly and rudely dudit in the head and kills self-consciousness. And when in the end of the performance the audience gets up, then, immediately after, without any break, wild jazz breaks. But this lack of any transition between two opposite oschu driven beans acts per otuplyayusche.Young girls now stand on the stage or in the community, even in Paris, with the wobble motion in the hips and shoulders, which he instilled in boogie-woogie, and similar Negro dances, having become second nature to them. This eternal wobbling members they Sauveur entirely overlooked.It comes as a clockwork toy factory as ka Coy any hypnosis or epidemic.In the woods, on the beach - everywhere you do dried gramophones; roam everywhere, pushing each other couples.Social dancing which seemed to have been buried after the decorative elegant French dancing ceased to attract our athletes after the waltz and polka ceased to be interesting now reborn again, in this rough and primitive form of simulated Negro dances. "We like to beat them," - said the young girl, when I asked what attracts them to these dances. But after all this rhythm, in fact, not rhythm. It is incredible, he protivoritm, earthly power, raised vortex rem, just hammer otkolochenny or, conversely, crouching, pushing the beat, increased blood throbbing in blunting of consciousness.Just look at those figures on the dance floor, these blurring, dimming the face, especially in men, suddenly eager at all age levels the field bivshy dancing.These dances have an impact on the lower instincts you and conquered falling into the desolation jaded soul of humanity Islands.However, the fact that the Negro was a lively, we have become mechanical Coy.Demons cars rush through it all and take possession of the human lump in his movements, his
vitality.And not only in the brain but also in the life TION terms of what should be a soulful mood.Machine Music, rubbing, makes its killing the spirit of the impact and eliminates all some spirits.Arrhythmic mechanics is reflected even in the language of modern man on the scene. Thoughts rush rough, sketchy, just do not relate to the person, and the skeleton. Man is there. There is only an intelligent machine with sensual departures. If all this still harassed nerves, hysteria, of course, the director does not require anything to be desired. All this affects the soul of our youth, empties it. However, what's next? What will happen in a few generations, if not frozen snow pit no coup?Before me lies a room of a London gas You and me in the eye catches the picture: street boy, cheeky, miserable, with their elderly person.It is not written «Urching humanity».He drags the car, sit on it from above: Science with a gun in his hand, poisonous gas on the sides of two figures Literature (she looks at the book "Criminal novel"), then Isaiah kusstvo (it is holding a movie camera), under it with the gramophone music in her lap.This - our time. This image is self-intersection knowledge and self-awareness - the only path to salvation.It would be possible to come to the verge of despair. It would be possible to fall into the most radical shpenglerianstvo if at this time of extreme need not have been sent rescue. Salvation lies in the spirit act Nations High R. Steiner.It is the call that wakes in humanity, it separates him from falling into the animal state of sleep and mechanization. What was once in the ancient Mysteries were given to mankind as to allowance is on the path to personal development, now that we could come to the loss of their identity, it is given to him again.It is given to him at the time when humanity is threatened - get caught up in what is below the human, if it does not catch its foundation, the essence. One only intel Lect can not at the same time provide assistance.Left to itself races cruet led us to agnosticism, to shpenglerianstvu.If, however, the intel Lect will reveal himself to the spirit and will go on the road, this
spirit, his creative forces will fight germs cause of death and the transformation of the decadent forces that are showing at the moment its influence in the "urching humanity». To be able to see something very big, you must still wander out pneumometric machine, otherwise it will be seen as little as without a microscope quite small.However, the missing telescope can replace the distance in time. In our time, the case of Rudolf Steiner's pre ceeding all the available understanding of such immeasurable extent that the only apparent waves of time with their distant prospect can bring it to the standing assessment.For our share of the task falls to point to various parts of his work, and gradually make it transparent. Throughout, however, are life preservers for which we can grasp of the surrounding Ruhi times and spraying. What appears to be insignificant, can in this case acquired rösti greatest value.Let's start with education in the arts and in arts. Back on the path leading to the sources, of which the art originated. Beginning it was, however, important - it was a cycle of stars and its reflection in the field of human in the form of a planetary dance, Temple On the dance.After that, the flow of creative forces rushed into the human body, forming a shape, giving direction and making those forces and humancentury forced to be creative. Of these forces in man emerged ability to translate that manifests lo it operates, in the creation of art as visual and musical.Art also caught the Divine, causing it to light tomer matter and reflecting a Cosmos.When the burst and materialism in human silent divine powers, and his brain was turned into a coffin with the dead Vym thoughts that could no longer grasp the spiritual, then was the savior.He prooduhotvoril intelligence, tore it out of his stupor and brought him life movement.
In every field of human activity has made it a go. However, we have forgotten what a spiritual movement, because we are caught up in the flow of satisfaction and osilennoy us matter is we opya nyalo and drove.We did not notice that at the same time became passive, and that through sports we only created the illusion of its own motion. And because of this we are increasingly moving away from the spiritual impulse. We need to return to it with awakened consciousness and podslushi Vat in themselves, derive their power from the motor because of its impact and trends of their destinations.Then, in the knowledge creatively effective we will be able to feel the force forming organs and develop in themselves the new spiritual bodies. Because of this we will overcome numbness, woodiness, drying, which drives even now chosen intellectuals in extreme pessimism. Incidentally, when I (now in Hannover) is to write the Foreword to this conclusion, I fall into the hands sheet of newspaper. In it, I read: "Culture has an unconscious effect until it is strong and full of movement tives forces.We deliberately designed to preserve and promote cultural tour.Is it already in the beginning is not a sign of weakness incurable and barren? Is this not called zahirenie all creative forces are already in the bud, so that in the best case, you can only expect a weak remnant of flowering of what we call culture? Is it already over a circle of true culture, so that we are left with only the civilization and the mechanism with some romantic sheen that has survived from the extinct world best days, which itself will soon fade away? " (From «Niederrsachsenbuch 1927"). Lower Saxon, obedient spirit dictates, delivered once and zavoe shaft country Celtic Britons.As it has been Englishman performed thread cultural and historic task - to develop the consciousness soul, since it is aimed at the person and the surrounding terrestrial world.If a German RETURN sieves conscious power of God to the "I" in man, will perform the task of Germans and give humanity a new culture for which
humanity will be in it gratefully.Instead, however, he turned away from the task and forget it - he began to develop a mechanical civilization and bring it to the extreme point of aggravation. This was during the catastrophe of World War II all the time appealed to the Germans the most prominent herald of the German spirit. He spoke such words of encouragement: Der deutsche Geist hat nicht vollendet, Was er im Weltenwerden schaffen soll. Er lebt in Zukunftssorgen hoffnungsvoll, Er hofft auf Zukunftstaten lebensvoll. In seines Wesens Tiefenfuehlt er maechtig Verborgenes, das noch reifend wirken muss. Wie darf in Feindesmacht verstdndnislos Der Wunsch nach seinem Ende sich beleben, Solang das Leben sich ihm offenbart, Das ihn in Wesenstiefen schaffend haelt!
German spirit has not completed That is to create a world becoming He lives full of hope, lost in caring about the future, He hopes, full of life, on the things that will make in the future. In the depths of his being he is experiencing strong feelings Togo hidden influence that still maturing. How can u enemy forces foolish desire to revive its end While he still gets a revelation of life, That keeps him, displaying the creative work In the depths of his being.
It is for this way of life has to go German (deutsch).But this is not the way to "keep the race clean," as a slogan, but to reach your hand, "I", the divine power of the "I".You can also achieve this through the mind. The transformation of personal consciousness, elevated to the immortal "I" has creative power, consists in the spirit and causes behind not faint remnants of flowering, and powerful culture. I, apparently, far deviated from the subject of the book, which was a must to do the introduction.Yet this path takes us back inside the temple, from which emanated the ancient culture, emanated not unconscious Indeed, and led through the consciousness of selected spirits with a word and art.They will help us to continue, as it is now essential that the to our spiritual consciousness we had the active help and gradually became universal self-consciousness.If we go to meet this help, then open ourselves to the spirit in all fields, in particular, and to the Oblasov ty of spiritual revelation and human knowledge, to which this book.Then we will not need more decadent Negro dancing to whip up lingering nerves, which are driven into the car and we converted schayut ourselves into gear, slowly killing us all in our best human cal.Then we, on the contrary, will gain an understanding of the noble, spiritual, understanding of the art of movement, which is a reflection of the circular rotation of the round dance of the stars and stars language that created us, which again makes it visibly clean, sound in us.
Lecture One
Dornach, June 24, 1924
Eurythmy as visible speech
My dear friends!
The lectures, which I guess is to read, devoted to the discussion of eurythmy and stem primarily from Madame Steiner expressed the views that precise registration of eurythmy, so to speak, traditional tion is necessary first to repeat in order to inform all that relates to speech and eurythmy that for a number years has been referred to the relevant persons.Then my task will attach to these repetitions explanations, each time touching (not in order of division into chapters) individual singularities eurythmy. However, I will try to address eurythmy in its various aspects: as in the artistic aspect, which is, of course, be taken into account for the most part, so is the pedagogical and healing. Today I would like to preface lectures kind of introduction, which then will join the consideration of the first elements of eurythmy word. First of all evritmistu need to live in the art of eurythmy, eurythmy work in his personality, his human being, so that eurythmy became an expression of life. This can not be achieved without a pro penetration into the spirit of what the Eurythmy as visible speech.The one who just looks at eurythmy who sees it only as an artistic vennoe pleasure to know anything about the substance of Eurythmy - as it should be generally in artistic enjoyment - do not.As little need it to him, no matter how small the need to learn a musical harmony, counterpoint, etc. wanting to enjoy the music. To artwork on neem, enough understanding, which has generated a healthy person. Art should have an impact on its own. Its influence should be taken for granted. In order, however, those involved evrit Mia wants in one form or another to make it in life, you must likewise penetrate into the essence of it as, say, a musician or painter or sculptor to penetrate into the essence of the business.In eurythmy, when we penetrate into its essence, we are at the same time insight into human some creature at all.Because there is no other art that in such an outstanding degree as eurythmy, would enjoy the fact that there is in man himself. Take all the arts that
require any weapons diya, they have no money, no guns - who were marching to a person as close as eurythmy. Mimic and dance art fit (of course, to a certain extent) is close to a person in his use of artistic means thereof; mostly the same way, the use of the individual as a weapon.In mimic art, however, is that mimic expressed, plays only a subordinate, auxiliary role in integral image, it does not dissolve in the xy dozhestvennaya image of the man himself, but in some cases the use of proper person to emulate that here on Earth already napechatleno the man himself. But in the mimic art we are dealing with the fact that (to some extent) in a more distinct form, pass on what people usually favor etsya in life, that is, make it more distinct.To make it clearer, more soulful, we add to it a variety of gestures (Gebaerdenhaftes).As said, our task here is, at most, to continue what already exists on the physical plane from the man himself. In the art of dance, if dance is elevated to art, we are dealing with an emotional outpouring, will in human movement, and again, the dance is expressed and developed further only that inherent in man as opportunities such movements, which are available on the physical plane. In eurythmy we are dealing with something so that in man in ordinary physical life in any respect is not what should be but to be through creativity that comes from the spiritual.We are dealing here with something that only using man as he is in his usual way in the physical world, using it only as a means of expression, and specifically the human movement as a means of expression tion. The question is, what is actually portrayed in this case? You will understand what is portrayed in eurythmy, only if take into account that eurythmy wants to be visible language. So much, in fact, and with the speech, when we express it mimic, then we take a sample of ordinary speech, but when we express samoyu question, then, as
such, does not have a sample. It comes out of a man, as an independent work. Nowhere in nature de not have what is revealed in a speech that it shows up. Similarly, eurythmy should be something that is certain primary creativity. Speech take its starting point - is a manifestation of the human larynx and the fact that one way or another linked but with the larynx.A throat that it actually is? This question must be put, because I have often pointed out: in eurythmy whole person becomes becomes a kind of larynx.We must therefore ask ourselves: what is generally important to the larynx? You see, if we look at it as simply a manifestation of the larynx, it escapes our notice, that, in fact, comes from the larynx, which is given in dimensional case is formed.You may, however, be remembered that there is a wonderful tradition that is now little understood and which swarm you touch, when you read the beginning of the Gospel of John: "In the beginning was the Word, and the Word was with God, and the Word was God."Word. The word (what now appears to be a "word") is not it, something that in connection with the beginning of the Gospel of John does not give the slightest sense. This is the beginning of John's Gospel is exposed, however, the constant discussions. People believe that they have with some thoughts. They do not mind, if we look at what is currently the modern man, the word "word" that he was at the same time says it is sound and smoke, fog and heavenly steam, etc., which he, in a certain respect puts thoughts below, we can see that he puts himself on a pedestal in this and believes that it can be treated with contempt by the way, as opposed to thought. If we thus get into the idea of the modern man, "the word", it would appear that, in fact, the beginning of the Gospel of John does not have the slightest sense. Thus, "the Word." We have a lot of words, what is it? After all, it can only be one any definite specific word. What is the essence of this "Word"? That's the question, and to ask yourself.
At the heart of this tradition, which is celebrated at the beginning of the Gospel of John on the lies that had once been known from the instinctive knowledge of what the word, but that is now no longer known.You see, the idea, the concept of the "Word" was once covered in ancient, primordial human Český beliefs just as
essential human creation. So as you all Anthroposophists, then you know what an ethereal human age.There is a physical person, and there is ethereal. The physical man, as it describes a common physiology or anatomy, and has from the outside and the inside of some forms of which are depicted in the figure kyo.It does not take, of course, note that this pattern image zhaet only a tiny part of the physical man, as he is both a liquid, air and heat, which is usually, of course, is not represented in the figure, when in physiology or anatomy talk about human ka.All the same, however, can form an idea of what something physical body of man. In this case, we have the second member of the human nature - the etheric body. If his draw, it would represent the etheric body is something extremely complex. In the stable form of this essential body may be, in fact, drawn in as small an extent as lightning. When the draw lightning, then do not draw the lightning, because it is in motion, is covered by a stream. Therefore, when the lightning bolt would have to represent the flow of the movement. How little it would be possible to draw lightning, if you wanted it SDE lat, as little can be fixed and the etheric body.The etheric body locat ditsya in constant motion, incessant mobility. Meet me, but somewhere in the world, these people are in motion forms, of which the etheric body is not "is", and continuous stanno appears and disappears?Do we meet them somewhere so that one could approach them? Yes, we meet them! The fact that they exist, then it has been known for the ancient intuitive knowledge. We have them in that - I beg you, my dear friends, note that I express myself exactly
why things have to be taken as accurate as I say - we have them, when by means of sound give shape to all that flows into the con content of the speech. Okinte now in the eye of the spirit of all the things you are in the sounds of speech gives shape of your throat; these sound forms used for anything that finds perfect expression in the whole volume of language. So you embrace the eye of all that is a part of that whatsoever relating to speech and coming from the throat to her (speech) needs. Realize further, that all these elements coming from the throat, is of integral part of all manifested in the speech.Realize that all of this with the Cost of certain movements that are based on the form of the larynx and surrounding organs.Hence, all the proceeds. It comes, of course, not immediately. We did not immediately say all that lies at the heart of the question. What, though, if we could say all that lies at the heart of the question? We would have uttered it - as paradoxical as it sounds, but it is - if possible at the same time sound all sound stone from A, B, C and Z. Imagine this.Imagine that someone from A and moving on, the sound of the sound, of course, without a break, but only with appropriate respite, would make all the sounds sound to Z. All that we say, enter into some form of air, which is invisible, but which, however, we must assume there is available, and about which one would think that it is fixed by scientific means, without the mark of her man. When we pronounce the word - the tree, the sun ... - We are absolutely certain we derive the form of air. And when we say it all, from A to Z, we get a very complex shape.Let us ask ourselves the question: what would be formed if a man did it really? This should be done within a certain period of time - during our lectures we hear why - it would have to occur within a certain time so that the beginning is not broke completely, until we got to Z, so that A dwelt more plastic in its form, when we reached the Z. If the air in the form of education that we can actually get the entire alphabet from A to Z, and if I made it so that A would retain its shape until
the utterance of us F and all this would have generated in the air, what would happen then? You see, it would be the shape of the human etheric body, thus contribute sobom would create the human etheric body.The human etheric body would stand in front of you, if the whole alphabet (it should be just right to make it, as at present, as it is usually pronounced, he is not quite correct, but here it is only in principle) if once simultaneously sounded the entire alphabet, from A to F, - would stand in front of you people. That there would actually happen? After all, people in the form of the etheric body is always there, you always carry it in ourselves. What do you do when you pronounce the alphabet? You will then be immersed in some way shape of your etheric body and tell her the air. You form in the air image of your etheric body. When we utter a word one who does not have, of course, in itself all the sounds, then what happens? Imagine that you face the people. It is in the form of physical, etheric, astral body and "I". He says a word. We see it as our consciousness is immersed in the etheric body. Part of this etheric body he represents in the air, as if you were faced with the physical body and would show, for example, the arm so that the hand would have been visible in the air. It aired tion of the body do not have these forms, which has a physical body, but the body shape of the ether appear in the air.If we understand this well, then our eyes will penetrate into the wonderful metamorphosis of the human form, human development. What, exactly, is this etheric body? It is that which contains the vigor, the strength needed to power, but at the same time as the forces that are required to correct the PA myatyu.All that it contains. And all this we will inform the shape of the air, when we speak. The inner person (as it expresses itself in the inner etheric body), we are imprinted in the air while talking. When we combine the sounds form words. When we
combine the sounds from the beginning to the end of the alphabet, there is a very complicated word. This word contains all possible verbal ABILITY.But this word contains at the same person in his ether suschnos tee.First, however, than on Earth appeared physical man was ether tion man, because ethereal man lies at the heart of human physical century.What is, however, ethereal man? The ethereal man - is a word that covers the entire alphabet. If we are talking about the education of the primary word, the former first to the physical person, that can be called that occurs with speech (when the alphabet is pronounced individual sounds) birth - birth it essential rights.Otherwise (if we say not the whole alphabet) it is only the birth of separate fragments of a person from individual words.What sounds in every single word, is a Total but something of the man.Say the word "tree." What does it mean when we say "tree"? When we say "tree", so that it denotes that say Tsey of us, our etheric body is that it is here - the tree.Every thing in the world is part of us, there is nothing that can not be expressed through man. As the pronunciation of the sounds of alphabet vita man pronounces himself, and thus the whole world, and in the individual words, which are fragments of the particles of the Word-the alphabet, he always utters something that is a part of the world.The whole universe would be reprimanded if the man said: A, B, C, etc.The individual parts of the universe ITATION utters the pronunciation of individual words. All this we must realize if we want to think about what lies at the heart of the sound itself. At the core of the sound, as such, is all referring scheesya to the human inner.This is all that is lived out through the etheric body, the inner person that is experienced in the soul in the form of feelings. Here we need to focus on what is experienced in the soul of the human ka as feelings. Let's start with A. When we first learn to speak Oh, we do so in appreciation Besso dream state, when he was still quite a young child.All this can be buried when
subsequently subjected to come to school gatsya torture related to further the teaching of sounds.When re benok learning to speak, then there is already a particle that is the great mystery of speech, but it is still immersed in the sleepy, unconscious. And when we say, you have to feel it And (if we have to some extent a healthy sense) as emanating from such of our inner state when we are in some kind of
surprise or amazement. Yes, it is a surprise, again a part of a person. Man is not in fact something abstract. Every minute, every waking moment, he is in fact something.You can, of course, locat ditsya in the flaccid, half asleep (hindoesen) - then there is nothing definite.But then, is something. The man, in fact, every minute is something. It is something I am astonished that experiencing fear, then, say, something that strikes. It is not just an abstract person. It is every single minute is anything. At times he is amaze, astound. And here is what happens in the etheric body with experience of surprise, astonishment, clearly relates to the air in a certain shape by the larynx: A. In this case, making the air of my human being, that is to surprise people. You see, when on earth there is a physical person, it occurs in the form of a (complete, perfect) man, if it meets the general Arise venie development opportunities.He appears intact (complete) man from the body of the parent body, which is called the womb (Uterus).Here there is a physical person in their financial ical form. And the fact that there would be in the pronunciation of the alphabet from A to Z, it is essential, however, only etched in the air and get the shape of the human larynx and the neighboring organs. The same thing we have to say and then, when the world is born a child, when he is said to be "beginning to see the light of the world": from the uterus, and the neighboring organs arises physical man.
The action of the larynx, however, is not as the other parent (generated giver) of the body.She is in constant work. As a result, the pronunciation of words, constantly having fragments of human exists, and if we embraced in his speech all the words of the language (which, however, does not even have such a wealth of different words of poets like Shakespeare, although the latter can be said to have ), the creative larynx would constitute all air rights in the form of an air forms, but in a consistent manner in the development, woulda birth, constantly committed in the Techa of speech.It is always a part of the birth of broadcasting rights. Physical larynx is only the outer shell of that wonderful body that is in the etheric body and is in a way giving birth to the word mother.And here in front of us that wonderful transformation tion, I was talking about when he mentioned about the metamorphosis (transformation).All that is in man, is a metamorphosis of some of the basics forms.Ethereal larynx and its shell - physical larynx - represents the metamorphosis of maternal uterus. When we speak, we create human-century, we create essential rights. On the mystery of speech, my dear friends, indicating the relationship between speech and sexual function, which manifests itself, for example, the male changing voice. We have here, therefore, deal with the creative work, which is poured out of heaven in it from the deepest depths of the world's life.We see before us, streaming, unfolds the revelation of what is usually in physical Český occurrence man hidden in the mysterious depths of the body.We gain by this is that we need for artistic and creative cooperation. We gain respect and attention to the creativity with which we are associated, as artists. In the fine arts we do not need for something that involves us in the essence of the world to all of our cal human being.And what other way we could be more of degree being included in the world, if not the realization of the connection that there exists between the occurrence of human
speech.Each time, saying the person creates a part of what was once, in the right time, it was the creation of man, when he was separated from the ether as a form of air, even before he accepted those kuchuyu, and later - a solid form.Speaking, we are transported back to the world becoming a man in the form in which it took place in ancient times. We turn now to some isolated examples. Let us come back to it And that creates a person in front of us are surprised.We need to realize that in all cases where the speech is heard A, it is based on some surprise.Take the word Wasser (water) or a word Pfahl (count), or whatever you like another word, in which an A. In cases where you are on the A linger in his speech, everywhere is the basis of any surprise.In all these cases, the speech manifests itself wondering human century.In the distant past it was known. This knowledge had still those who owned the Hebrew language. Which means in Hebrew A - "Aleph"?What is it? This is surprising people. Now I would like to remind you of something that could bring you to what, in fact, there is indication in A that if A is meant.You see, in Greece, said philosophy begins with a Surprise tion, amazement.Philosophy - the love of wisdom, love of knowledge starting naetsya with surprise, astonishment.If to speak in the spirit of izna initial knowledge, the original instinctive and clairvoyant knowledge, then we could also say that philosophy begins with A - is for the ancient man would have meant the same thing. What, in fact, investigate when doing philosophy? Explore because it is human. All in fact tends to self-knowledge. In the end, people want to know. Thus, the knowledge of human rights begins with consideration of A. At the same time, however, it is the knowledge and self mym hidden because you have to put a lot of effort to do a lot to achieve this human cognition.Only when we come to the man so that he stands before us in all its fullness as it is formed of a spirit-soul-body,
only then, in fact, we find ourselves before that - as a person - makes us the greatest A surprise to say wondering why a man who is surprised at himself for his true being, and is, in fact, the person in the highest, perfect development - is A. If one feel that the people in the form in which it is in the physical body is only part of a person and that we can have it in front of him as a person only when he stands before us in all its fullness existing in him divine, the ancient, original humanity call such a person a sense of wonder to yourself: A. And - there is a man in its highest perfection.And - there is, therefore, a person and we express in A that is experienced in a person in a sense. Let us then from A to B, even though at first to be about to establish some reference points that can lead us to an understanding of right words, extending from A to Z. As we have in the so-called consonant, in A - vowel.When you pronounce the vowel sound, you have the feeling: you express yourself outside of your innermost. For each vowel, as well as in A, you feel full of a sense of the experience.In all cases where the acts Oh, you flabbergasted set.In all cases where E
stands, we have what I would have expressed the words: "It has made me something that I feel." Just think of what we have become distracted by people what people dread but dried up; just shriveled apple or plum - so we have to respect the experience of language.Just think: we just Govo rim, not paying attention, when A is found somewhere, we stay on it - and we do it constantly - and then going from A to E, we turn to a sense of amazement, "it made me that -what I oschu schayu. "Let us feel now, what is the I [And] be curious and then guess.Experience a vowel sound, and you will see that it is based on is always wonderful, very complex experience. When given to the eshsya exposed at least five consecutive (vowels) sounds, then get a fresh impression, the first man.Man is born is itself anew in all its dignity (Wuerdigkeit), when fully conscious, that is, with full awareness allows them to
radiate from its internally first.That is why I say that we are so dried up (verschrumpelt), that before us only that the sound is him, and do not see anything out of the experience, we see only what it stands for: water (Wasser) - it means that- then ... etc.We are completely dried up (wrinkled). The situation is different consonant sounds. Here we do not feel that something comes out of our inner being, in accordance with our sensitivity you.We, on the contrary, copy the image of what is outside of us. Let's say that I'm surprised, I say A. Then I do not display the image of something, then I express myself.If I want to express what round is beyond me, that is rounded, for example - a round table that I do then if I do not want to talk about? I reproduce it, framed (nachforme) is (appropriate gesture).When I want to outline the nose, without saying it, without naming the nose, but giving only understand what I mean, I can picture him, drawing (making the appropriate hand movements). Such is the case when I was forming with vowels.They are a display of something external. They always follow the shape of something external. Once we pass these forms in the generators of the air coming from the neighboring organs, larynx (Nachbarorgane ...) - out of the sky, etc.With our bodies, we create an image that transmission is, reproduces the shape similar to that which is outside.This process comes down to fixing (fixing) in a letter in the letters. Pos we once again talk about it. When we form V [B] (to give him a sound one, we can not, we are compelled we add E), it is always an imitation of something.If you could keep in the air image that forms the Xia B (it lies in the fact that we are pronounced as in), it showed to be a cross enveloping covering.Going enveloping form, it turns out that might be called "home."As it is always displaying the hut-house.When we thus recite A, B, we get: "a man in his complete form" and "a man in his house": A, B.
And so we could go through the whole alphabet, and successive sounds were of a mystery man: that he represents in the universe, Noah, in his house, in his physical shell.And if we have moved on to C, D, etc., then each letter would tell us something about the person.And when we came at last to Z, then we would be in a sound revealed the wisdom of man, because the etheric body is the wisdom of man. You see, when we say that there is something very significant tion - a man.And you can have with a certain fullness of form, such as peace, when taking a comprehensive sense. I, O, A reproduce a lot of peace, we can say, almost all in accordance with the peace experienced by human senses. I, O, and A. One can thus say, take a look at what comes out of a man in form of speech. Utter before us someone, say, A, B, C, - and that's before us all the etheric body, now out of the larynx, of the Uterus (womb).That's it. We look at the physical person who is within the earth you walk out of the mother's body, of this cancer, which is a metamorphosis of the larynx. Now imagine yourself in front of the whole person as he is in the world, with everything in it is because it is what comes out of the mother's body can not remain unchanged. If it had remained the same mennym, it would not give the whole person.Everything must constantly dostra ivatsya (hinfugefuegt) (evolve).For a person, for example, a 35-year It was the age, of course, more of the essence of the world than the one that has a child.And if we imagine a person (represented here schematically tion) released throughout the completion of 35 years of the universe, just as it comes out of the larynx, and the physical person is a child from the womb, if we were to imagine a man of vygovorennym Universe as of the larynx uttered a word - then we would have a man in front of him in his uniform, in all his education in the form of the spoken word. And here he is in front of us, this man, which is the most wonderful thing in the world phenomenon, is in its appearance. We can inquire izna initial Divine Powers:
how do you create man?Not such a way that creates the word when talking about? How do you create man? What actually happened at the time, when you create a person? .. And if we got an answer from the universe, it would be this: "We have come otovsyu do movement, various forms of labor - a form (evritmizirovannoe A), this form (evritmizirovannoe E), this form (evritmizirovannoe /) - all possible forms in motion, coming from all the universe.All sorts of movements that can conceive of themselves in relation to the human body, which we have at present. " Yes, my dear friends, but the possibility of movement, freezing, tsepeneya give physical form of a man, just as it would be in about the middle of the earthly life of man. What would make the Divine, if Zakho body actually created man from the dust of the earth?Deity might have ensued movement, and from the fact that emerges from these movements, just as in the movements of the earth's dust is formed, would be formed as a result of the earth's human form. Now we can imagine A. All of you know And in eurythmy form, in the form of a eurythmy, eurythmy C shape and so on.Imagine what would be the Divine and in series, one after the other gim, would produce from the right of what you eurythmy - now eurythmy - known for A, B and C. If this could take the form of a physical matter, would be standing in front of you people.At the heart of Eurythmy is a principle that we express this: a man in the form as it stands before us, is a complete form. But the final form of WHO Nickle of traffic generated from the right and changing forms.Not moving scheesya comes out at rest and at rest comes from moving.And developing eurythmy, we return to the right movements. What makes me as a person from the world's great-being my Creator? If you want to answer this question, we must form a evrit nomic form.Evritmiziruet God, the result is a human face. Here I am talking about eurythmy, but we can talk about any artificial ve, because in this way every art can be obtained from the Divine.However, it is at Eurhythmy get
the most profound insight into the link between the human and the universe there tion because eurythmy accept the person as a part as his weapon.So should you like eurythmy. If at first, judging by the human image, you do not know well what a beauty of a person, and then see how God created a perfect human form of movement by repeating eurythmy forms of the Divine creative movements, then you get the answer to the question: how to create ksasofa man? If we have a small person - the child is not yet finished, which should still be a whole (complete) person, it is necessary to help the Divine to the human form properly developed further in the direction to which the Deity predisposed child. What form should be used in teaching and in training?Eurythmy cal form.They are an extension of God's movement, Bo divine human form. And when a person is sick in one form or another, the forms corresponding to its divine archetype, damaged. What should we do? We go back to the divine forms, help them, we force people back in Nima these divine forms.This causes the correction of corrupted forms. We are dealing with eurythmy and how the art of healing. B clairvoyant ancient times it was known that the utterance of a man known to those sounds with the appropriate intonation effect on his health.In those days, however, had to have an impact on the health of an indirect way - through the air, which in turn has a reverse effect on the etheric body. When going the right way and give people to do the movements corresponding to the structure of his organs (for example, some of the moves but gami and feet correspond to specific entities (influences), rising up to the head), just need to know what they are, these movements, then there is this third aspect of eurythmy - Healing eurythmy. I'd like to do today is to join to each occupy schiysya eurhythmy had a main feeling, a sense of what it actually does.That he did not take eurythmy as something that can just be learned, but would take it as something, so that people can come closer
to the Divine than he can do without eurythmy, for example, using any art.This entry should prompt us to penetrate such a feeling such a feeling. What refers to the right mu teaching eurythmy?It must be the atmosphere should be a sense of human connection with the Divine. That's when it really eurythmy. This - is necessary.
Lecture Two
Dornach, June 25 є924 g The nature of individual sounds
My dear friends! After my yesterday's attempt to explain to you in general terms the nature of the speech itself, and especially the visible language Eurythmy, I would like today to find you the character of individual sounds, because only by clarifying the inner essence of the individual sounds we can really adopt elements for eurythmy.I draw your attention at the same time that a human life, in the course of its development, has always been about more or less clear consciousness. Only in our time, as I said yesterday, we are dried up in respect of speech and use it. Always more or less clearly the presence isting knowledge that is in this flow of sounds, is the word, namely, that the consonant sounds is a reflection of the image of the external forms, that is, of what is happening outside, and a vowel - the inner experience. This realization that we consonants external, and vowels - internal transmits have a greater or lesser extent and forms (confusable) letters, so that in the initial tracings (especially, for example, a Jew Sgiach letters) can be seen as a kind of imitation what is happening in the air form in the air formations.The Hebrew alphabet is about also been observed, mainly in accordance with the letter.In more modern
languages, to which I refer are those that start with the same time with no armor Greek is still something of what I'm talking about - all this in the corresponding tracings are more or less lost.Still, much like Bezout still recalls that attempts were made to imitate NADI Sania letters that lies in the form in the form of words, when it is formed from the consonants, that is, follow the outside - on the one hand, and those coming from within (originating from the heart) sensations that one experiences - on the other side.We can say that now something similar can be found in a more or less distinct form only in certain layers Islands, some sounds that express feelings.Let us follow the example of this, because it is such an example we can best bring into being eurythmy. You see, when we say the sound of H [xa], not only by breathing in, it is something that, in fact, is between consonants and vowels.It occurs in all cases, standing in the known Mr. regard to the breath.Breathing has always felt like something that is going through a part of human age internally and partly already stands out. That is H, a simple breathing sound, it can be felt and felt the old man, as an imitation of education in the form of air that rises to the man in the form of trends similar to the trend of breath or air they breathe - coming trend.Thus, H can be experienced as a kind of coming trend.And all that is experienced, will be expressed by any word that contains the sound of H, because H is itself perceived as something privevayuschee (Heranwehende).
U [V] - vowel - can be felt as something internally (mentally) cooling, making you stiffen, numb, this is the inner experience of U. It makes harden, stiffen, numb, so that people feel cold.Thus, U - cooling, otsepenyayuschee.
Sch (W) - it blows away (Wegblasende), anything that blows away all that is felt as blown away by the away like blowing by. When the cold wind blows and causes numbness, in some places ABILITY say HushHush, Hush-Hush.In this way, this is expressed by the interjection sense and are
entirely permeated the sensation and sounds of H Sch: husch-husch.In the right language (Urspache) all the words were interjections expressing feeling. Now let's take a different combination of sounds. Is not it, you know the R [R], who pronounced RRR. Properly experienced R, when it felt like something swivel, rolling, all that gives the impression of sound RRR. Swivel, rolling, with a roar of whirling.To imagine it must be like this:
On yesterday I was talking about.I said that A - is a surprise.Sch we also already have - it blows away away, blowing by.Now we have to feel the possibilities of the word «rasch» (soon).See how that «rasch», past the proc Tuva, is a sense of wonder and leaves, blown away ...This rasch - soon.So you can see that the consonants can always feel the imitation of something: in the R - rolling in A (vowel) - Inland surprise, Sch - that goes away, goes away. And now you have the feeling that with some justification can talk about a greatlanguage, because you feel, if people felt it sounds right, it would say exactly the same, then they would have designated all the same way, according to the nature, based on the their own organization. And really, that was once the world. It shows us do Nations High science, and it's not a myth, the legend is not familiar to you, it's something that really is the basis of all languages, it is - right language, built in this manner.
When you look at some of the facts of life and see what they come out with extraordinary wisdom, a parallel names, then one is struck by the wisdom which is evident throughout development as a human ka, and in general in the development of the world. Just think, my dear friends, it's not a game - what I'm telling you. No, it's really prois follows from the right sense of the person.
For someone who truly ponders the problems of knowledge, not things that are intimately penetrate into the very life becomes a problem, puzzles, by which another man casually walks by.So, already may present a mystery that there is a parallel in the names: mate maternal milk (Muttermilch) and maternal (native) language (Muttersprache).That does not say "father's milk", it is certainly understandable, but that does not Govo ryat "father tongue" - this is less clear.What's the overlap of names? «Muttermilch» and «Muttersprache»?
FOR such things, of course, there are always internal reasons. External causes, however, can be dazzling conclusive, but this subtle, intimate process of human evolution, there are always internal reasons.When a child comes into the world, the best food for the formation of the physical body is the mother's milk. It is all the more suitable for the formation of the body. If we had time, we could consider the matter, even though it does not apply to the lectures on eurythmy. We could make this study of breast milk, and not chemically
dead, and we would have found a reason why breast milk is best suited to feeding the physical body during the first period of life, to a radical form of it. It would be correct to say, with medical and natural science point of view - to the pro formirovyvaniyu (durchgestaltet) it ...This is the first - the mother's milk - forms a physical body. A mother tongue - we said yesterday - this is the etheric body, it forms a further essential body.Here - parallel designation. Here the first physical body. B such things is deep wisdom. We find her in bed neoplasms, relating to the early days of mankind, as well, and in many of the views expressed in proverbs.No way can not be attributed simply to the superstition that there is wisdom in sayings like languages ka.Often, they are ambitious, full of tradition values. After all is said and after I demonstrated to you that we must bear in mind, let us return to the characteristic sounds of creatures. If we can understand what constitutes sound (namely, that the vowels represent the inner experience and the consonants are imitating external), and if we understand it in relation to individual cases, we can come up - on the one hand, to the artistic eurythmy, with another one hand - a pedagogically-eurythmy, and with a third party - a medicalpedagogical value of individual sounds.Now, I will call on the assistance are all available at my disposal and I will try to show you some sounds from their essence, that tomorrow you never took a full meniem the images that we are looking for eurythmy for these sounds. With respect to A, we have said: Surprise, Amazement.In respect to [B] Yesterday I also already said that it is always an imitation of something enveloping, which gives protection from the outside, is in the enveloping covering.This can be seen in the tracings of B. Only in a new modern letters in double envelopment: once again enveloped and enveloped.As is always the covering (wrapping) (Einhuellen),
providing protection.If we assume that put quite rough - this is a house in which they reside.Thus in - a house. Now I'll take the German characters. With the same success could take over the old letters. But Let us eurhythmy words, basing the German letters and sounds, and shows the characteristics in accordance with the revelation that, in fact, gives us the essence of German letters and sounds Cove. When you get to the austere C [C] - I certainly did not think to go into the study of the form of letters, because they are largely skewed; lettering us Eurhythmy not interested - then the sound you feel (c-c-c ) imitation of what is in motion.We do not have a sense of what is portrayed with sound, is at rest. From there pushing (Stossen).But if you get a feeling internally that it is, you'll notice: production Carrying On, you can not imagine something heavy.You will not have thought of using the show with something that would force you to sweat off stress tion.This sound can not portray this. They can convey something that is not just difficult, but on the contrary - only light. Property ease portrayed in sound C. I just want to say: the sound is portrayed with state ease (Leichtsein). Going into the details of the sound, you can offer you imagine the feeling of what you would experience if you had the balls before, fake iron balls (as we sometimes see in the circus), which would be designated: "1000 kg"; clown easily cope with it. Imagine what you would come up to these balls, weighing, say, 10 kg (with full confidence that before you balls weighing 1000 kg).You would come up to him, would have raised them from a distance would be something similar to the sound
[tsk, tsk] (a feeling of lightness balls).With that we come across in nature, because it is almost like sneezing C. After sneezing is a relief. And the old occultists say, in the primordial sound of the word with playing the role of regent health. In Austria, yet still say when someone sneezes, "health." Here it is necessary to associate these feelings with sounds, or sounds being remains unclear.
Sound D [D].Under what conditions will you say the D naturally?I think that you can feel it. When you ask where there is an object, and you well know, your gesture when you specify will likely be accompanied by the sound of D. If you want to express in this, that someone else should be amazed of your awareness, you will say " da »(therein).Omitting a surprise - D. Then you do not have a sense of pride that you have brought a man in amazement, you give him just a decree.With the D you just scatter the rays of your instructions in all directions.And you feel it. Thus, we can say: D is an indication (Hindeuten), spreading rays (Hinstrahlen).Picture this guidance, paying attention to something, just brasyvaniya rays - and is D.
E [E] is such a sound, which is always very interested in the person.I have already pointed out yesterday that E a sound that indicates: someone did something to someone, and the second at the same time steadfastly holding on. E - "I do not obey that with me happens (I'm not giving up in front of him, do not back down). " You can add an audio T [T], Tao-T. You may be aware that the sound of the Tao-T is a deep reverence for people who understand what it is.This is the Tao, in fact, that should raise the idea of something weighty, even creative, and that throws Pointing beams and the beams are sent (rush) while from the sky to the earth.This is the Tao is full of deep meaning throwing rays. So, we say that F - is full of deep significance radiation from above downwards. However, the fact that at a certain combination feels like something velichest-tively large, and can act in an ordinary life.Take these three sounds: E, as we have seen above, means: "He did something to me, but I'm holding firmly," is such an experience.T - "Tao": "he acted, entered, stabbed (er hat eingeschlagen)».To express this now, according to our experience. Something touched me, but I am firmly against this lyus - E, it is an event that has flown as a blow - T, but it passed by - blow away the off Sch.We get a combination of sounds «etsch» [etsh].When do we say etsch?We pronounce this sound when someone wants to say something
significant that, however, is not such false, and all at once it comes to the head. It happens when you can quickly whisk (blow) away that you touched that hit just as considerably as lightning, but you break it into pieces, blows it: «etsch».Here in these cases, you feel it is a combination of sounds. In it you feel affects you sound
Ye can not imagine that, in such cases, it might be said «itsch» or «atsch».On the contrary, just goes without saying that when there is a phenomenon affecting us, and we CDS Vai away, it will be «etsch». In fact, as we form E, eurythmy you feel full, which is thus still done in some areas.Eurythmy E is a form of our very gesture (Gebaerde), gestures («etsch, etsch»).Here E is evritmiziruetsya.Perfectly natural, self-evident phenomenon. We have thus encompassing E and cross bone resistance when touched.When describing such things, it is, of course, is always somewhat awkward. But they should feel about it.
F [F].It is perhaps hard to feel in the present life, so withered in respect of the question. But then we can come to the aid of a saying that all of you know, because there are quite widely used: COH yes anybody knows the business, it is said: "He knows the deal on ff».It's a very interesting feeling. We compare our current popular saying: "He knows it's ff», (a fact I said that I would use everything that is possible to put together to inform a sense of the sounds, let it be scientific or unscientific, and in most cases it will be unscientific ), so compare this colloquial expression that spoke of F in the ancient Mysteries, where the words "In the beginning was the Word, and the Word was with God, and the Word was God" were alive, which was vividly what I explained to you yesterday, when Indeed felt all creative, lies in the word, in the Logos."Logos" can not be translated: "Wisdom", as some contemporaries, suggesting that their lack of understanding of the ancient realities, "Logos" should be translated, "The Word" and "Word" is understood to mean, as we have connectors yasnili yesterday.So, when mentioned in the ancient
Mysteries of the Word, the (singular especially in the anterior-Asian, African and South Asian Mysteries) said rilos following.When someone says, F, then release the breath from him; same breath - this is whereby the Deity created the human being, and that, therefore, in the air, the breath, the breeze has concluded all the wisdom of human growth.All of that which could learn from yoga, for example, a Hindu, when mastered breathing and performed with the inner wisdom - all of which he felt when exhaled from itself F. and during exercise drevnein dussky yoga people really felt it.Tech ancient yoga was a person inwardly felt human organization, full of wisdom. Pronouncing F, an ancient Hindu felt that the Word came to his mind Wisdom.Therefore, F can be properly test only when you will feel the meaning of the formula, which has now become a little-known world, but is used in the Egyptian Mysteries, "If you want to show what Isis, who knows the past, present
and future, that can never be fully exposed, it shall do so at the sound of F ». Filling Isis herself through breathing techniques, the experience of Isis at exhalation - that is F. Thus, it is not exactly, but close to F can be felt: "I know» (Ich weiss).However, in this sound a lot more than "I know." "I know" is still too poor to describe the essence of sound F. Therefore, F, and the feeling was lost in the first place.The sound of this should, in fact, to feel this way: "Know you (that is, one other that is being accessed, and I told him, F, to draw his attention to the fact that I can teach him), know that I know." Therefore, I will feel like a natural, if anyone, wanting someone to teach, come up to him and in some way it dies F. There are many interesting for the study of words in which F occurs in a particular combination, but this is I give yourself.You are at the time they call to mind what I have just reported on the intimate feeling of F. Regarding the H I've just mentioned.This privevayuschee (Heranwehende). Well, now I [And].You can feel it as self-affirmation as a strong affirmation (Selbstbehauptung).In German, there is one good luck th word.It means a statement:
«ja» (yes), which is expressed by I, the truth turned into a consonant, and after it should be And - surprise, amazement.Approval can not be expressed better than using samout assertion and amazement.We talked yesterday that amazed - it is proper but, man.If we add it to the self-affirmation (ja), we get the report livoe approval; /, therefore, is self-assertion.Next, you will see how important for eurythmy images that circumstance that / always portrays protects self-assertion. Amazing sound is L [A], it is heard the sound of E, but we need to take a clean L. Imagine that you are doing, get a sound when the L?Do you use your tongue very skillfully, get a sound when L: LLL. You feel something creative, image, get a sound when L. One would say this: if a person is not hungry, and is particularly strong reprimand very long and distinctly LLL, it is its almost saturate.Thus, the sound feels like the real thing, it is as if we were eating some dumplings, very tasty, which we view the fact that it is not hard, but on the contrary, very soft, as if dissolved in a language with a special internal pleasure. Such an experience can be at a distinct speaking the: LLL. There is something creative, something forming.And the sculptor, plastic image form, too, perhaps, will want to try as they formed the shape of the movement of the language, which he does when he utters sound Tho L. Whoever language may well feel the nose, and in this sense is to a large extent the formation of L, that is, of course, may well represent the shape of the nose plastic. In the ancient Mysteries were told that L is in all things and beings creative, forming the beginning, this is the winning matter forming force. You will easily understand that EI [Ay] - diphthong - it sounds as if someone with a love clings to someone.Caressing the children enjoy this sound «EI-EI».Love
penetration, snuggling (liebevolles Angchmiegen). After that we'll talk about M [M].We will see that it is something that all goes, takes the form of everything. Now suppose, my dear friends (and this is not some kind of fiction, a joke, a game that I'm going to tell you, it is taken from one of the real, very
distant past), assume that we have some substance and we assume that it reports form of matter. Let us follow this story. This substance we make first requirement, she reported the matter to the form. That is its essence. It should inform the shape of the matter, but to do so, though lovingly pressed her to something like stroking a child clinging to him - «EI-HER."It must nestle. And it must, in order to keep it in adopt a certain way and this strange form to have the same form, that is, it is reasonable to imitate someone else's form.Well, now let's say that we want to give all this sound, that is, we say, let the form of matter: - L; cuddle - EI; take another form - M. So we have done the word «Leim» (glue), which extraordinary characteristic in the German language, regardless of any side flowing from it layers neoplasms.The fact that it is generally formed and that this is a clandestine activity, which forms the language of genius - that's exactly what we conclude etsya basis of the life of this genius of the language.It sometimes happens that in any language is any word yet sufficiently clear (took shape). It is then inserted in a modified form in the language, which was formed later, but still in a form corresponding to the initial feeling (if only for the people of this feeling with this word exists at all). After all, understanding language knowledge considerably more complex than is commonly thought.In terms of language in the present rently going on something terrifying.For a modern outer life pokoyuscheysya Surface conditional, it is certainly appropriate. But the human soul has such a provision, downright, monstrous opus Tosha influence.It is impossible to express how much it is. Take, say, a book or a poem in one language and try to express them in any other language. Take care in the dictionary, or look for a word in a different language from memory. It is believed here that re Water is made.Actually, that was supposed to translate - translated Deno, but, strictly speaking, to be transferred at the same time just skim lightly.Here's a way to translate from one language to another, and is the worst thing that can happen here.
Then take a look at this issue from another perspective, if we admit the possibility that there was once a primary language - one for all (and I must say that this language existed), whence, then, there was such a mass of languages? How it could happen that, for example, the German word «Kopf» (head) in Italian sounds «testa»?If we say that every thing in the language of felt, how could it happen that the Italian felt completely different sounds? He felt «testa», while the German felt «Kopf».After all, in translation it means the same thing. If you head over there now, the Italian would have to say «Kopf», as a German.Why is there a difference of languages? Now I'll tell you something, from what you might just burst out laughing, but it is true: in relation to the fact that the Germans called head - «Kopf», the Italian would have said the same word «Kopf», if he did mean it, but he calls the brand is not something that is a German word «Kopf».It lies outside the scope of his attention. What we have in German denote it, or at least call the word «Kopf», the Italian in his speech did not quite meet.If it occurred, it would have said exactly the same way as a German, - «Kopf».What does mean a German, when you say rit «Kopf»?My dear friends, when the German says «Kopf», he is referring to the shape, round shape.In the word «Kopf» - «head" - the right prochuvst Vova round shape.When we come to K, and we have all of the remainder would be that we need, then I will be able to draw your attention to it again.German assumes thus circular. Let's see, as in the present eurythmy word «Kopf» round in the middle.(Is). Here you have a round (das Runde), in the middle.That round, which is at the top body, is a German word «Kopf» (head). If the Italian also felt near the top of the roundness of the body, as a German, he would have said, too «Kopf», not «testa». What is oschu schaet Italian?The Italian feels no roundness, he feels that, as we speak bequeaths (testiert), that lies in the word «testament» (testament, covenant), that is what settles, states, confirms - that
it feels the Italian and calls «testa».It implies, therefore, is something quite different from the German. It just seems that this is one and the same. In fact, the words are quite different from each other in their base ve.In one case in German is expressed that sits at the top of the trunk in a circular shape. And if I had to put it very clearly, and in other cases, even with a shade of contempt, it would be possible to say: «Kohlkopf» (cabbage).Then there would be a perfectly clear that they mean round, is not it? Italian feel, however, that is at the top of the trunk, not as something round, but as something willed evidence establishing present.And then he says so «testa».This is what is felt in these words. And as always happens when we translate. We translate not knowingly account that we must first pay attention to the meaning that must be caught in another language.Think of how many in this translation dictionary outside! We thus omit bypass the most significant. And all of this is out of our consciousness. Joined by M - is the sound that is so majestically completes the sacred word of India "Aum."That the extent breathing becomes that the entire pressed (anschmiegt) and understands.M felt deep to.You see, when my country teacher wanted to express that I said something true, then spoke: «mhn!» - He understood it, it's true; «hn» has expressed that he is happy about this, M is also the expression "It's the same it fits ", it is pressed as M to the word« Leim »(glue). From this example, we first of all it is clear that each sound is actually a lifetime. And you can feel as if we were the words uttered sounds, it would be expressed, however, are more primitive and easier, but much more intimate for both things and ourselves. Would have, so feel just sounds if you want to penetrate into the essence of evritmizirovaniya because evritmizirovanie is, to a certain extent, the formation of gestures, movements of the body, but not transient, not random, arbitrary gestures
and space, deeply significant, that can not be different and do not have a source of outrage of the human soul. Tomorrow I will feature more of those sounds that do not currently have been identified, and then gradually we will find the transition to the characterization of the forms that we use in eurythmy and who in their movements and gestures (geberdenhaft) quite accurately express my being that by the sounds of is blown into the air in the air generated by them.
Lecture third
Dornach, June 26, 1924 Gestures experienced and decorated
My dear friends!
I would like to add to yesterday's sounds that we have not yet discussed. It sounds
S and Z, which are there in a self.If, in addition, to identify one or another related to the field of pure sound, then we might, on occasion, an explanation in later chapters. Sound S always felt (still experience these substances exist ing) as being particularly deep penetration in the speech.One can say that the experience of sound S is associated with the sensations in the initial days of human development have been tested with respect to the symbol "snake", or, in a sense, the same as the symbol of "the rod Mercury Riya," but not in relation to Mercury stands for itself, namely, the symbol of the rod of Mercury.The very symbol of Mercury, we have to look at the sound of the same symbol E. Merkurieva wand plays a big role in some of the Eastern manuscripts, where the mark of S (the mark, and now we keep and which clearly resembles the symbol of a snake) is the basis.It will survive of S, feeling like she hesitates and meanders - it is, in fact, to the extremely complex and in its elementary form is accompanied by a sense of powerful, domineering calm all in a state of excitement, and at the same time feel confident that in the most intimate thing gets kind of calming influence. In the Mysteries symbol S was always something so what, how and the like Z, indicated with a special sense of dignity.When pointed to such things as "Tao" (Tao), it was done with a solemn awe-known it.Note also on S, on the contrary, to put it trivially linked with some awakening of fear among those who pointed to the sign, awakening fear of something that had to look out for and what, at the same time, it was impossible to avoid in life so I do not Can you tell a good and just, as discussed in S mysteries, but try to put it into a different form. Now would be in amazement, if you could just see how little sentimental were true disciples of the ancient mission criterion.They were not the ones Anthroposophists, one of whom our friend - not from Germany - once said that their fasting person to
extend alive that.This was not the mood to have a mystery schools. They had a sense of humor, and sometimes what they are revered as sacred, oble potassium humorous to some extent, shape.So, I would like to say, if true disciple asked any of the mysteries is not appropriate for the members of the mysteries of people how to understand S (similar questions, of course, asked because curiosity - a property which people had long since) then Mysteries student would meet with some humor: "Yes, you see, when you know the secret of S, we can see the hidden features of a man of heart and explore the feminine, you can reassure all that in them is hidden and sneak into their innermost of depth."As said, this would be quite an exoteric explanation, but all the same it would point to the fact that the letter is S. Sedation moving, agitated (das Bewegten) with confidence that the use of this tool will make peace. If you put what we have determined that, in gesture, you get exactly the sound evritmizirovanny S. Now there was another sound of Z; sense of F we have to make to the experience.F is a gesture, a gesture similar to S, but with one addition.He felt similarly, if you lo rezno immerse yourself in it, you will find that it is the feeling.It feels like something that causes a cheerful mood, thanks to what is perceived not only hard, but it's easy and especially wants you call a cheerful mood.It may also be an inanimate object.
At the same time, we seemed to end our explanation of the meaning of certain sounds and approach to what we can put these individual sounds in front of our soul. I have already told you that the first will be a kind of repetition is something
on which we can gain a foothold, both on the stand. Now we come to the fact that once again put eurythmy individual sounds in front of our soul. The main thing here is this: you need to ensure that we have identified the creature sounds we experience in the art as being a gesture. Need to understand myself quite clearly that man is formed from the elements of space, I have to separate sounds. If you take all the things that I spoke about the sounds, it is natural, I would say, naturally, will get approximately the driving forces that cause rye convergence of human existence in the pre-earthly existence of the Earth and then take him on, until it becomes a mature man 35 years. All this way with all the forces that build, involve and lead people to where it becomes what is actually an adult, all of these forces are related to the sounds of gestures. Therefore, the word, the sound is felt by us as something quite special. Let's start with the fact that a person belongs to the most intimate, so to speak, a way, as in Greece said that man is going through when facing riddles of existence, namely, with surprise, astonishment.Thus, the philosophy - the love of wisdom can only come from the astonishment of amazement. Perceive it and remember that the human ability to surprise is in fact a purely human, and yet it is what elevates man above the animals. If we then ask ourselves, what is this man, that elevates him above the animal, it must be said: this is the ability to keep a human being at some distance from the moving streams, or rather, the direction of flow, which in the stomach falls back to the frozen form.So a person can be regarded as a kind of a confluence of forces that fuse is in it. If a man were forced to look for its origin, which it should huddle time, which should cause in him a sense of wonder in any one point in the sky, as we must do for the plants and for Ms mals, that he had the sense to something very monotonous.On against a person feels that what he is surprised at himself, comes from different directions of the sky.This is expressed in a nascent sense we, if we want to reach the consciousness of our own being in us,
as in humans, it should look at themselves as if the gods have given their forces to merge into us from the surrounding universe. Imagine a schematic surrounding universe: the forces that penetrate into the middle of it in the direction of the Earth, represented by the arrows. When we, as a "man" now feel in the earth, then we must go through it to feel our existence as a shed forth from various points of the universe. Imagine A: in fact it is for you to embrace both of these areas through the wrists and hands - hands.And is thus not that you do swing, and that you yourself as a person imagine, say, create will define (bestimmt, determiniert - «certain») in two different areas in the universe and that you grasp something in these two directions.This grasping both directions is itself A.
A refers to himself just that.Indifferent with where you place your hands, but A is that you grab something in both of these directions (grasp the two lines), and the strain of your muscles feel as though entering into these two areas.You have to feel it in your muscles, and, if possible, immediately, on the basis of just the spoken sound, move on to the pulling hand. This is the A-confidence.
Thus, in essence, A is what you say to yourself: "Man, you are derived from two different points of the universe, you stretch them his hands to grab these two
directions.You cover what, from what's going on. Can you feel the force, streaming through your hands, blend into your chest. " The result is A. This is the eurythmy A. And this merger will already be so that a person also feels the gesture made but human. With respect to E, we have said that it is the approximate value of Covo, "I caused something something, but I do not accept it bravely."What is this experience? It is the opposite of experiencing the NIJ A. In A man is experienced from the cosmos.The experience of E has been something of an incident.Something happened and what is happening is experienced in the gesture. This can be overcome only when the event is, when it is something you feel. It can survive in the gesture in which one part of the human body in contact with another. In many ways this can be done, because it's not the elephant man and his nose is not as agile, able to touch the tip of his cheeks. Could it is - and great gesture E would be done in different ways.Aude however one can not do that.And so the gesture E can only be made in such a manner as shown in our eurythmy, and then touch is a member of the human body to another, and this touching expressed
opposition against the incident.Touching is playing with that something happened, and of crossed hands depicts resistance.One hand on the other hand, even one can lay a finger on the other. If anyone is able to do, the direction of sight of one eye can interbreed with each other.Each position that gives a real touch of one part of the body On the other, it expresses a sense of E, and if you made a gesture delayed, achieved the highest expression of feelings resistance to the fact that someone else had done.Just imagine what a large difference between the experience of gesture sample A and the experience of gesture E.
A gesture of experience based on the assumption that you cover your consciousness stretching muscles.You should, therefore, cover stretched (stretched) muscle. The experience, however, E is based on the assumption that you cover your
consciousness crossed hands resting state, so that the main focuses your attention on this intersection. Thus, not pulling (drawing) is the main muscle in experiencing E, and stay alone one hand to another, or of pressing them together.You can, after all, and E do this: put your right foot on the left and the press, then you feel the movement of E, E. experience In terms of our present civilization get the impression that the world is always something that causes a person, because in most cases people are sitting with legs crossed and thus make a gesture of E! Thus, the gesture is something that most people think that they did something to the world and that they should stand firm against it. So artistic tively, in a gesture can comprehend things. Turning then to move on to the gesture Oh, feel the only kind of world experience lies in the sound of Oh! And there are surprisingly clean, pure amazement, O is performed by understanding the position (ein verstaendnissvolles Sichstellen) in relation to that, mainly, is surprising.Because surprise is all that we embrace consciousness, if only we are real people. But O puts us in a more intimate relationship to the fact that we embrace consciousness. Thus, being expressed in a gesture Oh, if a person feels not only themselves, but on the basis of itself, feels another object or another creature, which he wants to reach consciousness.In its purest form it can you imagine if, say, pochuv corresponds to somebody love and embrace the creature with his hands.Then get the appropriate nature etsya rigid motion on - bent a semicircle hands covering something else, depicting the movement Oh, gesture O. We have thus something image A susceptor.Human rights takes (greifhinein) that makes it out of the universe.In E we have a hint, an indication of the experience itself.A person experiences something in connection with the world. In about we have such a gesture in which the world is going through something through a man
because man embraces something in the world.He must try to make a gesture on so that from the very beginning to enter into the final round, that is, round hand from the beginning with completion flexible.That's when it's really about the movement! From the beginning, go to rounding. Now we come to the sound that rises to a person closer than E, which is to say, completely and perfectly depicts the self-assertion of rights: it is / [And].This is the clearest affirmation. I'm often called your attention to the «Ich» (I), which we use in everyday language.It primarily self-affirmation / and then adding a whiff but that shows: "We represent a cross consisting of breath (ein in Atem-Bestehendes)».But so far the people leading the conversation, do not go. They are based on pure selfassertion. So, for example, in my country do not say «Ich», a «i».There is not anyone would ever think to say: «Ich haue dich durch (I beat you)."I receive this expression in the head, because it is often associated with the concept of "I", in my country, this expression is used every day. So, there's not saying: «Ich haue dich durch», and said: «I hau di durch!»Obtain a purely self-assertion. Il this is pure self-assertion is felt now that we do gesture /.And when we go centripetal from two different sides, / going from the center to the outside and do not have the feeling that something is covered, but instead feel a certain extent, we feel like something coming from the heart for a hand through his hands or through the legs, or a vision - with the help of you can, too prodelyvat I, through the direction of the eye, when consciously look with one eye and the other is left in a passive state research institutes.This clearly appears I. As I do not have to be anything from L. On the contrary, both hands should be against the chickpeas so that they are a continuation of one another.But enough and one hand. Significant in this sense is a stretch, elongated or drawn, while at A should be a sense of scope, so that the sound, which then repeated having been there right internal focus.
If all of these features will be included in the way we do the sounds (Laute) as well as in the fact that I recently passed relatively short musical eurythmy (Toneurythmie), should enter what is expressed in musical tones, then it all becomes really artistic.You should, therefore, my dear friends, to watch not so much so as to imitate the outward form, but for the fact that this form has been internally reactivated so that you experienced when A pleasant ohbatyvanie in both hands for something coming towards you, and when I stretch (stretch) of the inner hand. Then there is a U [y], which we have already spoken.This is not self-assertion, on the contrary, the feeling of understatement, chilled, numb, its remoteness, its holding for himself (ein Sich-an-sich-halten).If E has exactly one member tested touch to another, it must be tested at U restraint (das Zurueckhaltende). It is best to do a U, bringing together the hands closely as possible to one another, but this movement can also consist in indicating that this compound is only IME etsya in mind.It is also possible, for example, up and squeeze legs to one another. We have seen, in some cases, such a move can be done and back.
Ei [Ai] - This sound can best be tested, as I told you yesterday, if feel a sense of affection towards quite a small child: ei, ei, that is, to do ei-ei, as if at the same time stroking the child.It is unconditional conventionally, the feeling of an intimate relationship to anything.(Ms L., Follow-ka good Ei.Keep your body straight, absolutely do not move them, village residents it still.)Is not it true that when you feel that this is a gesture of intimate relationship to things, but at the same time you can see that our manner of writing sound Ei, making it out of the E and I, of course, is the sound of Ei .Sound Ei must, however, be felt as something absolutely uniform.We are coming close to Ei, if you combine the E and / but the sound of ei lies between E and I, and here, in fact, is not an organic compound.With respect to the finer shades we'll talk.
Well, now for the consonant. Try to imagine a consonant as in the gesture. I told you that in [B] expresses everything that surrounds that is around some things, protecting gesture.This, of course, so just in a gesture not portray. It is necessary to go through it by imitation. (Mrs. F., show us pretty B. This is a real gesture B. Hold it in memory).
That is a real gesture B, when we feel that it is in this position, and one of the other hand.If you are truly experiencing all that is in the gesture, then say to yourself, "I can imagine that the transition to me is something that I want to embrace, say, a small child who is sitting somewhere in front of me.I want to hug him (think so). The best way I embrace it, if I took this way, as if guarding the movement (makes a gesture). " What do you have to feel if you have the right priate experience?You will feel that something really hold the ones here in this empty space.It would be best - if I may be allowed to do a little teaching box - it would be best to make this sound in a eurythmy for young children, to teach children to this sound, showing them that something is made out, and saying that you have to embrace it's something.In this case, he says, is that you should feel that your hands if it is guarded by a creature or this subject, we should have to imagine that all of this space, which is protected by a gesture to the full. Everything that I have stated, is relevant. You do not just abstract Undermining reap these forms, but to experience all of these feelings.
Yesterday I told you the exciting sound of a C [C].It is certain ring adopts the material to the spiritual and elevates it.He decrees Vaeth on the state of lightness, indicates that something is easy, mate rial that can be overcome by spiritual, can be raised to a height.In fact, with the best advocates when a child goes from crawling to standing position when he learns to stand up straight. This is a wonderful re nance.Can best be observed by the sound of C-C-C. This comes close to the way a child goes from crawling to pryamostoya NIJ.In this so beautifully expressed becoming light and spiritual elevation of the material! Feel what it is in it. Something to make an easy, matter is raised up a spiritual! Best of all you will feel ki evritmiches C, if we imagine the following.Some odd way something is on the respective plane of your hands and at the time, as you do with a gesture, something to make it fly up.Or, equivalently, if you feel like something lying in the plane of your hands under the flies up through your movement S. then you have about what makes the experience S. I start with a leisurely such things, that you have entered into this experience. Because the experience - this is exactly what is lacking in our Eurhythmy dosing. D as I told you, is the fact that points to something located at the bottom, or even by pointing in any direction: D. If we add to it And saying that we are surprised, as indicated, we get «da» ( there).Imagine that we wanted to express the creature Eastern Sun feeder.After all, eastern educator is something quite different than a European teacher, particularly the more ancient oriental teacher. Regarding the European educator because we constantly have sensitivity to what he wants from you as mites or something to pull you into the roll Lepesh ku, or do anything like that.After all, they say, that we should be "time twisted ", although in most cases, what they say - talk.And with so much talk about education and that of the modern teacher, then there is a feeling, just a ball of thread, we (as they say in Austria) and that we need to unravel (to develop). You feel generally quite tormented apart
when it comes to current education. You dumb, rolled, stuffed, filled, in short, are you committing all sorts of things. European teacher feels that his job is to make the person totally different than what he is. If you could do all that is now an art teacher says, if it were reached, the coming out of this mess a person would be very strange creature! At the eastern person concerned in the upbringing NIJ.He feels that the teacher - the one who points to something, who always draws our attention to something: this is something, that is what ... He did not comb cuts under the student because he believes that it is necessary to develop of itself that can remain uncut, you just have to you all pointed out. Therefore eastern teacher always says «da» (there), da-da-da; «der Dada» - as it is called.Dada - this is the east teacher. This is the one which ry points to all things: yes!Yea! In a certain part of modern civilization, which, as I would say ... developing in the opposite direction of Darwinism, humanity, Wait tlivo reaching from monkey to man, moves back toward the monkey contrary to Darwinism.It wants to go back to pervoistochni Ku.Therefore, there exists for as Dadaism. A few years ago I got in Berlin, a letter signed by "The Supreme Dada!" This is just before the constitute a reversion, the principle of imitation, which is determined by the reverse Darwinism - a return to the monkey.And when Europe are basing Dadaism, then imitate Orientalism in its primary expression. However, the word "Dada" is actually pronounced rigid designation, paying attention to anything, an indication in any direction. (With Fraulein, do we D).Sign in well being of sound D!What we conclude etsya creature that sound?In the index movement. You have to have the feeling that there's something there, that there is something on D, to which you will eventually come.You therefore have to make a move D so as to obtain accord on one point advance at the time of the delayed (Landung) making hand intended position, but they must follow quickly
one after the other, so that just one movement entailed more.You can do them and to the left and right. It is essential that we have specified these things and actually felt this selection, designation.But before getting accustom clear sound D purely receive a pointing motion (finger pointing). Yesterday I told you that F [C] - is, in fact, Isis.F-consciousness pervaded wisdom.When feeling his own essence and survived vayut her into a breath in exhaling, then get re F. The exhalation is alive wisdom of himself, so to speak, its own etheric body.All of this should be put in that gesture, movement, which portrays F. (Mrs. P, follow us F!)This is exactly the movement, which is the breath when they speak F. It is necessary to do so, with stops, then you will feel that I have regarding this sound F. Take note that we should start twice: FF, just not so soon , softer.Here it is - F. Here we have an extremely unambiguous pointedly conscious imitation of exhalation. Next, I told you that L [A] expresses something forming (forming), and we feel the formation of the language: (LLL).For clarity, I gave you the word «Leim» (glue): the ability of the adhesive to cling to something, shaping, forming or shaping imitative imitation. L is what was believed in the mysteries of special magical sound, because when something is formed, then hold it in their power.And that's gripping the power was the aspect in which the mysteries saw as demonic force L. This is what needs to be invested in a gesture of L. If this is combined with the still feel as if your hands are at this time flexible, flexible, in themselves, If you feel that your hand is something similar to what happens with the language when you are doing LLL, then you have the right experience L, and you will feel that this gesture is something fascinating (Faszinierendes). Then we have M [m].Yesterday I said that the M - is the understanding a reasonable understanding, insight into the business.I pointed out to you that in my country,
when someone listen and want to confirm they understood what utter «mhn».On «hn» we still dwell.It expresses the joy and satisfaction that everything is clear, and felt that the words «mhn» just one absorbs the other.From this understanding of the world, which is so magnificently expressed in the sacred syllable of India "Aum", M. So, first you have something to reception summer, then you pierce it and after you understand it.Move so in a gesture-motion expressed granted acceptance (vzya The term) and ultimately acknowledgment.(Hands slightly forward). It would be great if you could teach this as elephants. They would have done well: straightening the trunk that is inverted them to the front. It would then be the perfect expression of M. If it were possible to do it that way, then it would be perfect M. I say this to you all are well experienced. May have to go through it is an unpleasant feeling that you arises when you encounter someone with an aquiline nose.Note that aquiline nose appears because unconsciously made a gesture-movement M. nose then becomes the "M-M-M '.In the presence of people with an aquiline nose, always feel constrained because there is a feeling he understands you through, and it's frustrating when you're through to understand.So aquiline nose - it is hard to define, for styvshy, frozen gesture of M. But the one who is going through a gesture of understanding with M, that does not strike even if he met someone with an aquiline nose, and that he predpodneset eurythmy M, so to speak, in his own nose.And before we would feel embarrassed. But there is a different understanding, which is, so to speak, deflecting pony Maniema, understanding where the stick is slightly ironic in which understand the subject, but at the same time show: what's wrong with that!It's, of course! N [H]! When you come to Berlin immediately confronted with this. With someone, something happened, there is an unpleasant sensitivity in, but the story is quite clear!At the same time, however, once all this is debarred from himself, saying,
«ne»!In the end, that, in fact, says Berliner, except «ne!», When someone he knows?He did not say. This contemptuous attitude of a person to the fact that it is self-evident, it is known, that it is planned in the sound of «ne». When the master by this gesture, it felt as follows: "There is nothing special, it's all clear to me! "You, however, have to go through this sound like that. To achieve the correct image of gesture N, imagine that in front of you some stupid person with great enthusiasm RASSC shows you all sorts of things.You want him to understand that he is too stupid to you that all of this is well understood and brush aside. That's what has to be the experience of N. Regarding R [P] I told you, it's something whirling, whirling wheel.It is an expression of everything that is not round, but it takes a rounded shape. All this is accompanied by a feeling that is difficult to imitate it, because, in fact, a natural gesture it would be if we spun the wheel. And it can be done. Fraulein Sh, do we R. It's pretty intense expression of R. Let us assume that this is one way of expression.With too Fraulein R. It will do us another way.That's so different The methods have a nice image R - revolving, spinning wheel, which is also reflected in the breath, which is also cool when pronounced R. That is what are the things which, in my opinion, can give you a preliminary idea of how experienced by gesture can go to Eurythmy in a gesture designed (taken the form).
Lecture Four
Dornach, June 27, 1924 Individual sounds and their relation to each other
My dear friends!
It seems we have come to the image of yesterday R. As for the rest of the sounds that we now need to portray, I have already developed their essence in front of you. Mostly the same way, we need to understand the sound of S [C].The sound of this, as I indicated yesterday, was considered extremely important in the mysteries. It, in fact, saw as something magical. It can feel like something confidently AFS kaivayuschee because the sound momentum of S gives to penetrate into the depths of being. So I told you that when a student asked a stranger mysteries, what he learned with the sound S, then he answered, as usual, in a humorous tone, "who possessed a sound S, one may read in the depths of men's souls, and women's hearts . "As you know, if you look at their depth, in both cases you need something to calm. And that is what caused the AFS kaivanie humorous message pupil. If the sound of the F feels "wisdom in me, I created from the wisdom, the wisdom that lives in me - I breathe it, it's here," then the sound of S there is something behind what lurks the fear of light, something that should be feared .Poe fact, as I told you, fonts, in which both the base is different letters S, snake line, seem a bit creepy, so, with the help of which catches the light in the innermost depths.And to this day the people who can not write (eg, however, is small), see the font something terrible. When the euro peytsy, these "best" people of civilization, came to North American Institute deytsam, and the Indians very much in these "best" people find unpleasant for myself, it was an uncomfortable feeling for them and with respect to the shape of the letters.They explained that these "white man," as they called them, those creepy white man also has conjured on paper "little demons". This view that the printed characters are little demons, village zhalos some Native American tribes until the XIX century. Now think about these two sounds - F and S. In eurythmy they should be presented in such a way that it clearly was seen a huge difference between them.When is F,
then
it
should
express
a
calm
dominance
(Beherrschung)
over
what
vcharovyvaetsya (magically infused) into the world.Vcharovyvaetsya it with calmness. When you give the image F, we only have to bend down a few hands to the hands, but actively bend down and not let them hang.You must do it as if you wanted something close, protecting. Now S.
See how
sound is
something powerfully
S, gospodstvuyusche
(Beherrschung) rejected (making S).This is vividly expressed in the movement, including the relationship between both hands, which occurs when driving. Now go to the Sch [W].There is hardly anyone can make a mistake. Sch - it blows away away, blowing, stainless past.I gave you yesterday visibility tion explanation of this sound when pointed to the feeling associated with «huschhusch».The breeze blows by and flies away: husch-husch.In all cases where the words included interjection, you perceive that Sch - blows away anything away.We can mention the word, very typical in this respect. Now please, please note that it has a deeper meaning of what I said the other day, namely the verbal names, designations of the same items in different languages are different. Thus, if we, as I pointed out, speak German «Kopf», this indicates a form on the plastic head and if we are talking in Italian «testa», then this point to the fact that the head does, it confirmation of activity.The fact that in German is called «Kopf», would be called «Kopf» and Italian, if in Italian would designate the same as denoted in German. In this respect, languages are quite different from each other. The relative relatively German we have to say that it is extremely visual language.The genius of the German language, in fact, a sculptor. This is something exceedingly tea characteristic: the genius of the German language - the sculptor. At the genius of Romance languages is something of the legal profession, from the law, they argue, confirm evidence.
This is not a criticism on my part, but only characteristic. Thus, in each language affects the temperament and character of the genius of the language. It is up to walks up to the fact that, for example, at the sound of the Hungarian, Magyar or Finnish languages inevitably there is a feeling that something is missing.You can not hear the Magyar language without feeling that every third word is something absence exists.At every third word, in fact, should be killed deer, because the genius of the Hungarian language - the hunter. All words Magyar language, not related schiesya to Game hunting, strictly speaking, borrowed.Magyar language has borrowed an awful lot, and when you come to Budapest, then in every street you meet wonderful names, such as, Kaveha'z (in German «Kaffeehaus» - coffee shop).Of course, there is the Magyar words that are not, as I have described. Magyar language, as such, has an awful lot of borrowed words. But when you hear the Magyar language, it is clear that there is something hunting. There is nothing wrong with that. Agriculture, Game hunting, herding - this is all the elements that came out all of humanity. In a language such as Magyar, more strongly affects the initial forces. The genius of the Magyar language - hunter, say, or a hunter, if you will - Diana. We can thus say that it is in the German language appears plastic, forms of education. THIS it most strongly expressed.Therefore, we are in it we meet a lot of words related to the interjections, which is very characteristic. Let us examine the word «rascheln» (murmur, murmur).Yes, there is absolutely no need for it to be a snake. Even if the mouse is under foliage and restless running up and down, then heard: something with a whirling noise IOM (R), then it becomes uncomfortable, one wonders (B-A), then it is blown away (Sch).The matter does not end at that. Noise affects us, but we steadfastly stand a (E).It is, however, pressed, clings, protiski It turns out snuggling.Where there is only white space, there is slipping,
the deeper, higher (L).And when it was over, then we understand: (N).Well, I showed you the plastic words «rascheln». So you can find a great deal that meets the plastic language, plas ticity of language, and this is a wonderful feature of the German language.Eurythmy that most easily could arise is in German - it probably matters is the fact that eurythmy is plasticity in the movement, and that before that time the plastic in motion can be created with the greatest of ease it out of the German language. Lane tially all languages have a mobile plasticity.Some languages are IME are, of course, very musical in nature, such as Magyar.In no metskom same musical language a little bit, but it is much more of a plastically.And it is in this word «rascheln», as in «husch-husch» you can get the distinct feeling deflated svevayuschego character of the sound Sch. The ancient Jews felt Jehovah's breath in the wind: Seh.It's called, of course, the fact that there is a plastic sound Sch.This should be a fast pace, then it is a real «rascheln», and then you will feel exactly what is in the words, hear the rustle shaped.
I also told you yesterday how to understand the sound of Z. I said that in the experience of F is a sense of something as easy to come close to you.And this experience - in the gathering, in the beginning of takers cvoe ease - is plastic J. If we look to M, then we will have the it, as if in front of us had a child who has lost just bought him a thing feels so awful miserable and crying.And instead of punishment we want to calm him down. Suppose, for example, that the child is not the father or mother, aunt or grandmother and tries, as is usually done aunt or grandmother, to take a certain attitude to the child (which ry just crazy!)Gesture, especially right hand: "my child, well, nothing!". Well, if you remember these little stories. You should feel Z, mainly in the hand (in Arm), not in the hand, namely the lower arm.
Well, my dear friends, we are at this, in fact, completed the examination of individual sounds, as such.Our next task is to get the right way in the way in which one can imagine the relationship between the sounds themselves.At the same time I would like to touch on from time to time, and other areas. In appropriate places, I'll move on to teaching art and eurythmy therapy. You will then find that the teacher follows from the nature of the sounds that we just passed. It is clear that for pedagogical purposes it is necessary to use the words that, if possible, are still a sensation, feeling fulfilled. Really, really enter into this fullness feeling, and due to this cause something that should be experienced: it eurythmy - a language that can be understood perfectly, if only to surrender directly rectly sensation.If you do this more clearly as possible, eventually, you will find it is already in the word «rascheln».You have to remember all the time mja and imagine that this is not just an objective process, but about the process, full of feeling.I will say more in the future that lies in the word «rascheln», when it evritmiziruyut.You will then feel how many On it is.(Eurythmy display of the word). Pay attention to the nose, which by the Sch E and turns to the rustling! You see, therefore, that including subjective feelings, you can reach all of eurythmy. Take another word characteristic has an effect. I told you, is not it, that in C [t] - and even more in R - is the power over matter, coming from the spiritual.Imagine that in front of you or what- whether screamer, well, say, a real rascal who appears to you very material and you feel towards him some anxiety.You're not very good at it, though, and try to resist it, but would like to remove - to blow him away, you tell him eurythmy: «rusch»!It is always possible - to feel these things: you nasty, you're trying hard to get away from a person to whom you are talking «Rusch!», But at the same time, you feel like you have known him power over you.This is done because it is necessary, to make it clear at the end of Sch.You see, the calm is «rusch!», It is that you want it to blow away.
If you want to do educationally, you should try to choose those words, which, of course, you can still feel the plastic forming, on the one hand, and the inner life, which at the same time feel - on the other. But the sounds are in fact separate elementary components of eurythmy. Of them should then be drawn up words. If you are in any word, say the word «rascheln» (whisper), or otherwise connect one after another of these basic components, these sounds only intellectually, then it has not yet received word.The word is in fact much more a unit than imagine. And if the word is not represented something integral, it could not have happened that we have become so dried out on the substance of the language, what are the emsya now.When we read, then read some sounds perfect but vaguely, we would rather slide the words and the sounds we heard faintly, so that one merges with another, one sound in normal speech into the next.And we must therefore pay attention not only to the image of individual sounds, but mainly, the image transition from one sound to another. And therefore it is necessary to pay attention to a method and a view of how the sound is generated from one another. It would be to trace how the sound is coming from one another. To do so would, for example, take the character ITATION often repeated words that are sure to be made to feel as a whole, because they could not be decomposed into elementary components.Take, for example, a word like «und» (Russian word "and"), simply «und», and try now continuous, ongoing transition to portray him try before you start to have done U N. This can be done well in Eurythmy: before you finish the U, N, and proceed to immediately go to the D: «und». Now you can learn eurythmy as creates internal noun ABILITY intentions of the genius of language.I told you that D is indicating movement.What the hell does the word «und», when it is used?To empty: «Sonne und Mond» (sun and moon).We have on the one hand with lntse, and with the sun - is indicated on the moon.Thus
eurythmy opens you to the original gestures, lying in the language. Here it should be felt. Let's see, from this point of view, one word, it is in the German language has long lost its plasticity, which it once possessed in the highest degree. If I say "once» (einstmals), it means not "for centuries", and "in very recent times."He had a ductility. The word is, of course, is relatively new in its present form, but when it appeared for the first time, it possessed plasticity. But even now, as a slang term, it retains its plasticity. We must, of course, to say that we do not have in our sensations of these things feel cramped (with completion, however, is lawful, reasonable) instructions philology.So, let us take the word «Mensch» (people), eurythmy and present it to fall slightly Sch, so that it sounded briefly: «Mensch».Here we have clearly heard blows away in the end. On what points us to a picture of a man? It affects transience, fragility of human life as a human being pre he who walks.Next, the man - figuratively - insignificant creature. That's what we said eurythmy gesture depicting the word «Mensch». There are, however, in a street slang word «Mensch».It means "simple girl", not in the bad sense of the word, but simply having no value women well: «das Mensch».Here insignificance expressed very strongly, and then the tragic sense, which is being tested at the word «der Mensch», slips into a contemptuous meaning when they say «das Mensch».Hence the witty wordplay beautiful classic sayings related to some kind of woman: «Nehmt alles nur im allem, sie ist ein Mensch gewesen».(If you take everything as a whole, it was just a man (whore). «Ein Mensch» is possible in this case to understand or "man" or "whore." Thanks eurythmy plastic we have, therefore, an opportunity with a deep sense of gesture meaning and essence of which lie in the word. But we have to understand ourselves as a eurythmy consisting of the sounds of the word makes move to the inner essence of what the word is relative relates, and
again to move to the word.Eurythmy difference manifests itself in a character of languages you can best absorb it if you look close lennye supplied images, apparently of the same phenomenon.(Frey Flax B. and Miss B., stand next to each other and proevritmiziruyte us: first, fr.B. the word «Kopf», then Fr.V. «testa»).You can see that when evritmizirovanii «Kopf» you have the feeling that she wants to pass something round, she wants to sculpt, with «testa» you can see that it wishes to remain certainly certainly right!So you perceive the deepest char ter that wants to express merits of each word. And we need to stick to this line. Then you can see how daunting a degree intimate acts eurythmy terms, directly in front of your eyes, the nature of language. You can always with sensitivity Vova that stands in front of your eyes the nature of language. For a visual expression we can fulfill short eurythmy one after the other poems in German, English, French, perhaps, also in Hungarian and Russian, highlighting opportunities for all sounds so could not reveal their character. (Operate a representative of the corresponding corresponding nationalities).Have you noticed that, for example, in English, one can see its relation to the raging sea. That's dominance over the bush yuschim sea, so strongly expressed in the character of the English language, you are most clearly as you see in the image eurythmy. In the Magyar language is expressed that the Magyar can not imagine otherwise how firmly put into the world, and, in addition, the Magyar language you can express snaking through forests and groves. Russian is the language that gives just a hint of the inner being of speech, giving only an echo of the inner essence of the word. It is a language that has not yet reached the being of things that should be only a feeling of being all over the place pointing to the future.
And I would like to see you compare two things that show how pronounced character of the language. All this must feel, otherwise you can not pa zobratsya in eurythmy.Then you type in eurythmy, there can be only theoretical, intellectual, it must be felt, expressed in sen stve.Compare evritmizirovannoe Russian poem with the French. According try to feel how they are different (portrayed by Russian verse creation).You can see that the Russian language is only in the wake of existing words.Try to perceive, as in the other, the French, the language prois goes exactly pritantsovyvanie front - before there is a word (image zhaetsya French poem).You can see that the characters of these languages are to each other as the day to the night, as the two opposite poles. If you will think about everything so clearly stands out, you'll have to say to yourself, well eurythmy has the property that is directed at the crystal-clear expression of the essence, as embodied in language and speech in general in nature.Therefore, it is best to express what lies beyond speech and the need to identify. Let us take as the main point of this provision something quite definite. Let's say you want to express affirmation and negation. Do you want to Eurhythmy ized and thus particularly hard to express approval (das Bejahung). Let us assume that the son is leaving the parental home. You are sure that he will come back, come back. "You come back to me!" - Says the father. Make-ka "you see me come back!" and clearly express approval. What you express your approval? In step. Steps forward to the right express approval, introducing him - surely - as a kind of I. So, the proposition go forward from the rear. Negation. Suppose that a child wants to ban something to do: "You're not going to do that!". If you want to make the denial was expressed strongly the need to express it, moving back to the left. These are the things about the stye. So you can go from that revelation essence that lies in a single word, to lying in the language, I would like to say, the internal logic. The character ter first detected
with even stronger.If you pay attention to individual sounds, then when evritmizirovanii poem in some language reveals more character of the language, but if the move, on the other hand, the logic of which is expressed in the language (with which we are acquainted closer), the more is revealed character of the people . Let us turn to the logic of language, we take the surprise. If found anywhere communication, expressing surprise, you make a gesture of surprise A and need to merge it with other sounds, so that he was in them.It already provides a good basis for learning, what is the relationship of sounds with this characteristic Coy logical and linguistic sensory content (sprachlogisches Gefuehlsinhalt): «Ax, how wonderful!".So, connect both of these things - what you have done as a gesture of surprise and the sound mix of "oh, how beautiful But!"- So that the one and the other was here together. (Depending on the sensitivity Islands, accounting and okrashivayusche in the sound mix could be merged with other vowels.) A gesture of surprise, of course, should be associated with individual sounds. The surprise should be included in the education of sounds. Such a movement, we will analyze tomorrow.
Lecture fifth
Dornach, June 27 1924 Mental attitude in the poetic work
Mon dear friends!
We will continue this investigation. We have moved from the fact that both the mood, the mood is the content of sounds to a more general character ters that is expressed in speech.This, in turn, is the transition from a purely audio or semantic that corresponds to speech vaniyu sense. Today we will discuss what defines the outside sounds sincere spirit in the poetic work. Here we are, first of all, we have to deal with that, to a certain extent, can serve to indicate the nuances and shading that played in the word (that is, through the organization of sound kovogo element).And that's saying something, at the very vygovari tion of speech, we can show the intonation is a state of mind that we had when we were talking about.After all, the intonation is very important, and when the spell is something that requires a special intonation, it notes the issues of real or an exclamation point, etc. What is important intonation can be seen from the following simple example. It seems to Segedin, in Hungary, was a company of actors representing Schiller's "The Robbers." Presentation given at the barn adjoining the cowshed. The actor knew the role of bad, and the prompter can be hard to understand. In general, it was delivered primitive. The primitive exacerbated by the fact that there was a uniform in public dis bonds.He was due to the fact that suddenly broke through the wall of a bull, so that the horns and face were on the scene and began to watch. Then a few scared the actor said, "Do you really from my ets? '.Prompter corrected him, saying that it is necessary to say, "Do you really my father? '.The director did not like it and that, and he corrected: it is necessary to say, "Is it in my father s true?". You see, so it's all about Stress. And since eurythmy we can express all that is the basis of language, it should be possible ABILITY express therein and that in the designated speech intonation, and letter question and exclamation marks.For this purpose we used the gesture, which is something that represents an exclamation or question.This can be represented as follows.
Evritmiziruyuschy gives his right hand a position left - such as holding a brush as follows (some inward-facing, with a free E fingers).Here's a gesture to be done in the appropriate place. About the color I will speak later. It is important in this case, of course, to evritmiziruyuschy always correctly found, in what place he can to make this gesture in relation to the rest GOVERNMENTAL.We must, of course, first study the thing, that is, up commandment imagine where in the reader does in his speech delay, a small pause.Then evritmiziruyuschy clearly goes against the movement, which lies in the proposal, first to a relative, and then to a complete rest, so that the action Indeed stops when making the gesture.If I'm on the example, he said: "How beautiful the sun is shining today!Rejoice at it! "- Then you have to eurythmy appropriately express these exclamations. To do this, we delay it started in a place where there is an exclamation make this gesture and quietly move on. So we have to make in the possibilities of the gesture underscores the strong (strong articulation). Especially it would be good to introduce it, for example, in a poem as "Sorcerer's Apprentice," in which many exclamations. It would take a while this kind, which from a purely artistic point of view can be called a sense of humor. For example, this passage: "In the corner! Brooms, brooms were you! ". Here it is necessary to put an exclamation point after "were." What follows is a stanza: "Because in the form of spirits ..." etc. For the sorcerer himself it would not be good because he is a respectable person, but if you added an exclamation gestures student action, it would be very good. The same gesture exclamations to do and after the words: "deftly by fell!"And" I breathe freely! ". We turn then to the other movements of the soul, which we can zit expression - to the hilarity.The characteristic movement is cheerfulness that under nyavshis on your toes, you're trying to make the appropriate gesture.Thus, when a suitable point, you have to go up on your toes. Then, if it is positive Suppose your head
(see fig.), you can make hands here is a situation and, if possible, push your fingers.This will be the movement of gaiety. If you try to strengthen what is expressed rastopyrivanim your fingers CET, vibrating them, you will get even more gaiety expression.Such a gesture movement of gaiety - extremely pleasant and acts exactly like a laugh. Take the following sentence: "He went up to the podium, but before he had time began to report a fly sat on his nose! Everyone was amazed. " After the "nose" is necessary to make a gesture. Now, even you (addressing the evritmistke), engaged in this business, somehow naturally become, infected with a cheerful mood. And the weight cavity expressed in this gesture, I think, very well. In too many cases, it is dramatic (not liriches cue).When you evritmiziruete anything dramatic, it can be expressed mately next gesture.Imagine that you're dropped down predple whose your right hand and show up at the same time (index finger), and run into the left hand side.Imagine this gesture. And then before place that someone says, "Did I do that would be smarter than you are."These words can be evritmizirovat by such a gesture: the left hand strongly curved hook, right - shows up, Takao gesture to express the "damn nerd» (Verflucht gescheit)."Exclamation mark", "gaiety" and a gesture of "pro Darn clever man!"You can see in these forms eurythmy gestures.
The following figure shows the gesture that you should be well studied disconnect.Upper arm attached to a position (see fig.). The index finger is pulled up. The peculiarity of this gesture is that it indicates, in fact, on the judgment («Einsicht» - thoughtfulness, by understanding of).In all cases, when the gesture is used, it shows the distribution suditelnost, but only when the finger does not point, but just stretched.But the gesture of judgment and goes into a serious gesture of knowledge. If you are making the right hand moving up and the left hand hold as though cut off from the bottom of human rights and rhythmic head (which are mainly engaged in cognition) with the hand supporting the elbow, that is, doing so (see Fig.), It turns gesture of knowledge. With this gesture, the knowledge can be used, in fact, in many cases, because every word that indicates that you perceive that you have taken something of themselves, can be considered as knowledge. And the mood of the poetic work can be extremely stressed if, say, at the end of the lines to make such a gesture, which expresses that the corresponding perceived. A lot of POE cal work will benefit greatly from this.But they can win and then if, for example, in such works as "The Curse of the singer's" Uhland: «Es stand in alten Zeiten ein Schloss, so hoch und hehr (castle once stood tall and beautiful) ... "- To make the gesture of knowledge before you Priest pita bread for execution.You will see how the poem benefits from it. Make it so that your whole body gesture expression of knowledge. Go to first position to a position of indifference, expressing knowledge. Then the whole poem is a consequence of something that indicates: it is all over for sveem structure should be taken thoughtfully.You then will attach all the elements of creation a certain basic tone. Other mental attitude is something that has value obschepoznavatelnoe chenie.This mood is associated with a gesture I - self-assertion.I - always samout assertion.But when affirmation is not sound and beyond becomes distinct sound
and mental expression, whereas it is possible to express the fact that they take a position in which the right leg with bend in the knee.You are standing on the left foot with both hands outstretched, but so few hands is pulled back. Here is a
dramatic gesture of self-assertion.Fr. B, do the gesture, a gesture of megalomania, at the end of the proposition, which I'll say, "Did I not Chinese emperor?"This is a real gesture. We, therefore, we make a life depicted in us, and a substantial and significant is that life was introduced into these things. I want to give you today are full of expressions gestures in order to get you in the next few days could still much to behold this.
We must also specify the gesture, in which you can take a wide stance and do with the movement of greed (gluttony) (see fig.) When they want more and more, that is a gesture that expresses a strong desire. Take for example the following sentence, and in the end make it a gesture of wanting more: "You gave me, gave me everything I asked for." But do not push out the hands, otherwise it turns out that you decline. You want more, and the gesture of the desire for more, should be directed inward to ourselves, and you have to stand wide, strongly pushing his both feet. Does not require that I take this gesture of gluttony was himself a hearty Nena.It is used when there is something that causes a sense of unre satiety, frustration, wanting more.Well, now finish the gesture phrase, I would say, so that between them there was a pause to this gesture by gesture immediately followed
the text: "Do not be bogged down the whole house? "- And so must go on! This expresses an insatiable. Now we come to the things that we have to enter more deeply into the man. Here we have such a gesture that expresses warmth, that is the state of mind that is associated with heart (sincerity), penetration of feeling (Innigkeit des Fuehlens).This warmth of feeling locat DIT expression in the fact that we rely on the forefoot, heel lift a few from the floor (but not high, because if it is too high, there will be no warmth, so that the heel should be raised slightly) do remain standing, and then gently make the movement of both hands forward so that, with the thumb touching the index.This expresses the warmth, intimacy sensitivity Vovan, and then get the next gesture.Imagine that here, on the hands, you lay a baby and you want to develop in yourself, so to speak, a heartfelt sentiment, addressed to the guardian angel of the child. Then you'll der reap the child so and you have a gesture of intimacy.Take for example some particularly solemn verse, and in the end you make the gesture. Try evritmizirovat: "Let burdened with sorrow will come to me." And now to do this gesture. Well, it came out lyrically. Try removing lyrics and do, so to speak, a monumental gesture. Then, after a gesture of warmth you can at the end of an exclamation mark. It's now penetrated novena.Make an exclamation mark! That's right, at an appropriate pace, it is possible to express all of this very monumental. Akin cordiality (intimacy), but at the same time, and totally different from a friendly attitude toward someone, courtesy, emotional mood courtesy.This could be expressed, slightly when lifting the heel, then easily picking up round his left arm so that the gesture, which we have done before, was going up and the other gesture (left hand) down to the right.Then it would be a gesture of courtesy, by doing so, you should certainly feel a sense that this is a gesture of courtesy. It is important to der
This gesture message is this: on one leg you should, of course, stand, other foot you should be easy to put to the front of the heel, you raise your right hand up, pointing forward thumb, index and middle fingers particles, the left hand is slightly lower and also easily stretched forward, his hand several ajar.Then you make a gesture as if you stretch any gift. But you do not make any gift, and make a community tion.Would thus be set at the same time you may bring as a gift, but here, in his left hand, a gesture of the message "I'm telling." Both, these words express the gesture. Suppose we have the following words: "Truly, truly, I say to you ...". They will lie to the message and it is a phrase which perfectly possible to finish it by this gesture. Now comes a gesture whose character outlines when an appropriate mental frame of mind we stand firmly on his feet, clutching mentioned elongated hands with clenched fists (fingers closed without voltage) to the body and keeping your head straight.His eyes evritmiziruyuschy must keep with it in such a state that he had a feeling that he does not see them, they froze. Then the movement will come good. Such a move should be done several times while reading the following text: Wan was sick, His eyes went out, Sobs around him. Particularly expressive you can do these words, if evritmiziruyuschemu able to make a gesture, which I pointed out in the places that I designate points: Pale lay ... patient,
His eyes ... extinguished, Sob ... surrounded him. Think about what this individual color can give him, as it highlights the nuances. So this is - a gesture of sorrow. Then we come to the gesture, which consists in the fact that we are stepping firmly on his feet, his hands outstretched (folded out), back, hands back but perfect.It is a gesture of despair.You have to have a sense of affecting mainly the muscles of the hands, the gesture expresses despair. Do the gesture of despair with regard to the first verse monologue of Faust. After the word «studiert» make a gesture of despair: Habe ich, ach, Philosophie, Juristerei und Medizin und leider auch Theologie! Durchaus studiert (I understood the philosophy, I became a lawyer, became a doctor ... Alas! With diligence and labor. And in theology I have got ... ") - you can see that when some gesture really expresses the mood of mind, it is adjacent to the previous dramatically. Our study of mental gestures, I would like some more shade, saying: Learn These gestures, they teach you to express the emotional mood of plastic, eurythmy. Then you will be able to absorb the internal tions lyric or epic poems of the course.Imbued with a sense of underlying gestures, and then you can give evritmizirovaniyu true spirituality. 'll Talk about it tomorrow.
Lecture Six
Dornach, July 1 1924
Mental attitude and characteristics of the individual states of the soul. Color as the content of mental attitudes
My dear friends! Yesterday, we finished work on some mental moods and show how they are expressed in gestures with eurythmy. Today, we first make some additions. Here, first of all, we have the benefit of Lenten Retreat.Reverence - that with this attitude of mind, we must realize that eurythmy is not seeking to convey what she wants with an ordinary mimetic gesture. Like the voice of education forms TION and consonants, all of it is directed to ensure that the take of the whole human being stylistically (in character) that is an imitation of mental gesture, which, thanks to all the human organization is the basis for the respective mental damage.We can see that when it comes to sound, it is necessary to attach the motion tions shaped to superficially (apparently) already play there sponding in reality as a kind of gesture of air when a person says.After all, when we say we are a known way to attach the air form. If we were in any way that could hold on to what is thus formed, we would have a sample of the gesture, showing the first sound. If we are dealing with a certain attitude of the soul, then, of course, come closer to spontaneous, spontaneous gesture, that is, such a gesture that arises when we are in our everyday life are in this peace of mind. Currently, most people avoid gestures, thinking maybe, | that ignoble gesture. The more people "coming out of himself," for some mental attitude, the more the desire to make gestures, leaves itself because there is not in the ordinary everyday state, but in the mental attitude that meets the emergency life-polo zheniyam.But such an unusual attitude and a reverence. Reverence is in a person need to do a famous gesture. Gesture, which is done with a sense of awe is, in fact, so, to tory responsible natural way to keep yourself in this emotional sentiment.And just because you can see that when a gesture of
reverence becomes natural numbers General to, whereas in most cases it can not be natural.Reverential attitude of the soul accompanied, so gesture, in which the upper part of the arms are kept drooping down along the body and arms from the elbow facing up, then - the position corresponding to the mood of kako-some of the vowels U or A. Thus, hands, or rather, we have to keep the fingers in any of these forms, depending on what we wish to give the group reverence.
It is necessary to highlight the spirit of reverence of all that will be further informed concerning shaping gestures. So stylistically we best guide them things so that when it comes to reverence, let's start with the gesture again and finish it. If the case is to touch anything longer, for example, any long can Lithuanian, then we can make this gesture at the beginning and at the end of each stanza. If you want to use this gesture to such words: "O Divine Spirit, hear the call of my heart" you should make a gesture before and after these words. You just need to make sure that the arm was folded down, pressed, and then it will make a gesture of reverence. Bole certain high degree of reverence expressed in solemnity.This mood of solemnity in a way similar to the mood of cognition, only with the difference that the gesture of knowledge symmetrically complementary gesture of solemnity.With a gesture of knowledge we do the same gesture to the right, what we do with the solemnity of the left. You can feel it in the event that at first grasps what takes place knowledge in relation to the solemnity.
You see, the knowledge - this inner mastery that is outside of us and that we want to connect with our own being. It is necessary that we in the gesture did not take away from the knowledge of its nature, has a profound meaning. If the person did not have cognition, it would not be a man. The man, in fact, for the first time becomes a man only because of the ability of cognition. So that knowledge should only be yes perceived as something solemn tune, but on the other hand, as something which encompasses the activity of the soul.Activity is expressed, however, is always that we turn to the
right.The same attitude that we are developing with the knowledge, turned into a passive passive form in awe, gives solemnity. In all cases where we do not advocate actively and passively surrender ourselves to something, we turn to the left.And we solemnity, so express that appeal, so to speak, with the sign of knowing the left.Now, take for example something that has a gesture of solemnity, for example: "Over the human destinies Saints stars shine ... " Make a gesture of solemnity before and after these words. Start with only a gesture of "knowledge", keep it up and move to the left in a ceremonial gesture ABILITY. The fact that all the states of mind - and with an expression of a state of mind with the revelation of emotional states we tend to deal in and evrit mission - all mental states can be divided into three categories, thinking, feeling and willing.So, it is important to wanting to give eurythmy tatsiyu interpretation to some poem, we really express the main character of the poem, that is, that if you change this basic nature - the transition to the feeling of thinking or feeling in volition - we expressed throughout this transition staging evritmizirovaniya.
Take, for example, as a point of contrast, to Thoraya exists between thinking and willing.They are the opposite GOVERNMENTAL activity of human beings.When a person thinks - I Undermining zumevayu thinking in a broad sense - it then undergoes a process in which the head is in the rest position.External sensual way not seen that man thinks. Thinking going on in my head, finding scheysya at rest.The opposite is the expression of the will. If somehow it does not manifest in the external world, then it is simply intention. Currently, the same will, which manifests itself in the outside world, it may be visible. For the inside of the human life on earth, it remains, however, as dark as what happens to a man but inwardly whose.After all, people do not know what happens with it internally at night. Just as little does he know about what's going on between his soul and the muscles or bones when there is movement as an expression of volition. If a straight line in front of you, then you can determine in advance the whole line. Suffice it to have at least a small segment of a straight line - and has all the straight line, as such, is certain. Straight line - it's something in relation to what is known, what it is. The curve - what we entails, in relation to what, in fact, you never know what it is and where is.
There are, of course, well-formed curves, but their accuracy is not as experienced as felt to be correct straight lines. It is because of these deep foundations in a straight line Eurhythmy characterizes thinking, and the curve characterizes volition. So when you would have to use the direct evritmizirovanii possible, lines of thinking in Britain and the curves at volition.
It is important here, however, solve the question of how we understand things. You could say, "I want to express some poem volition" - and other goy said: "I want to express to him thinking, to make it as clear schenie community."One understands things the other way. If things are not quite certain expression in one or another way, the solution of this problem is sa must, of course, given the choice of one or the other party.Prepared to present some poem, you have to POE to ask yourself, as you understand a thing?What is it - a thought-anything telling a poem or not? Let's say, for example: "B Aachen in regal splendor, in the old hall King Rudolf sat sacred power for the solemn coronation feast. Meals brought a Palatine of the Rhine, Bohemian pearls of sparks pouring wine and all the electors, all seven, as a crowd of stars around the Sun, were busily around the lord of the world, with the advantage of doing his job. " In this poem, only the serial number of thoughts like this, eigenvalues, usually in pure epic.But if the thought suddenly crossed into volition, then we immediately had to express eurythmy. However, I have cited the verse can be best expressed if its conduct in straight lines.But straight lines appear after all and when built rectilinear shapes, so if you are coming from any other character istic features of the things you can express thinking, using the triangle, quadrilateral, pentagon:
if thinking is somewhat more complicated way, that even such a line:
In all sorts of curves lines you are expressing, on the contrary, everything that relates to volition:
Feeling we should portray, connecting lines, and curves to SRI.Here you have a very wide field:
Our challenge will be to build the first such forms. After all, they you can always form themselves. And it is education that shapes if you try to help you create a relationship between the internal and evritmizirovaniem poem. It was only natural to ask: how are these forms to those given in the form of a standard, that is, those who have already developed in order to somehow express the individuality of the poem? Then you will see that is these forms have been developed in a broad sense. You'll always see.
You will also find that the development of such forms is drawn in the corresponding field and focus on a more intimate (penetration) side of the poem.Which means, drawn attention to the more intimate aspects of the poem? You see, the fact is that the vast majority cal poetic works, which are called as such, in fact, they are not quite, because the poem requires that all significant tion lay in the language, in a well-nuanced language, not as rough as in prose but, with the help of properly prorated language.If ka somebody poem to express surprise: "Oh, how I surprised!"- That this will not be anything artistic. Tion truly artistic expression of surprise you get when you insert the sounds of A, if possible in the one month in which to be expressed surprise.Just when you want to express that opinion thrown in the past, it is desirable to insert on five opportunities a lot of sounds U. And when it comes to internal consolidation after we touched anything, it is necessary to use the sounds of E. So, we can say that the real poet who wants to express something mental, should be possible to use a lot of sounds E. I'm talking, of course, only in the sense of ideas, because it is not always possible to adhere strictly to what is required from a really artistic, otherwise the light will be very small (one might say, thank God), STI hotvoreny, because then it would take a long time until the poet would be a corresponding intuition.Eat a lot of sounds E, and sometimes the sound of I, thought to be a poet, that is, more prone to epic.As for the poet who uses the sounds of A, O, U (the poet, whom we we find them) then it is more likely to express feelings.So use a little vowel and consonant sounds pile up, growing mainly in the direction of volition. And you have to follow the poet to create forms. If you do so, notice that the poem comes mainly from intelligence - smart in a good way - that you contact a rectilinear forms.If you notice that thing comes the pain above from a feeling that the forms that combine straight and curved.Finally,
if the poem is a lot of strong-willed, even if expressed conjugated emotionally, then you go to the curvilinear forms. If you, in accordance with the above, will produce an analysis of those forms which have already been given along the way, only then realize, in fact, more intimate structure of a poem, to which must be created corresponding form. Well, now it will be interesting to take some poem and try, regardless of its content, which it will find expression, if it is considered, in one case, from the point of view of thinking, in the second case - from the point of view of feeling, soul, and in the third - in terms of volition.One can certainly imagine and is content to be expressed by all three methods and will be in all three cases have its own beauty.Both, for example, the well-known poem: «Ich ging im Walde So fuer mich hin, Und nichts zu suchen, Das war mein Sinn. Im Schatten sah ich Ein Bluemchen steh'n, Wie Sterne leuchtend, Wie Aeuglein schoen. Ich wollt'es brechen, Da sagt'es fein: Soll ich zum Welken Gebrochen seia? I was walking through the woods Just like that (anything not thinking) And do not set out to look for. In the shadows I saw
Flower stands Glowing like a star, Perfect as a peephole I wanted to break it, But subtly 'he said: "In order to withering I Must be broken? " Do this poem as a simple statement as a simple train of thought. Try to do it in ways that you would come to mind, with straight figures, but, if possible, not rounded at the same motions, gait and making them just in straight lines: «Ich ging im Walde ...». If we perform in this way, we get the immediate impression that something is reported to us. Well, now try to do the same in a purely circular forms: «Ich ging im Walde ...». Y ou can see that this vanishes all that apply just to the message, as well as the fact that depicts peace movement.After all, in the poem expressed a strong move when flowered says, "Do I have to be broken to fade?" - And on the other hand, we see a strong peace movement of the poet when he says: "Glowing like a star, perfect as eye" . In each Doi eurythmy form is expressed that the poem is in respect of, or the will, or spiritual movement, or feeling.Now try to use alternate lines and curves: «Ich ging im Walde ...». Then it turns out exactly what it is experienced internally. Straight lines and curves, taken together, make evritmiziruyuschego keep returning to himself and straight lines become, in a way, invisible mym, abstract.Thus, the whole then there is more internal. When transferred to the curved lines, I always go outside more.
Now I'd like to talk to you about that in respect of mood can really give a lot of in-depth at evritmizirovanii, the significance of the fact that here - that's for eurythmy these figurines - finds expression in paint. Here on the individual eurythmy gestures, each letter (A, O, and so on) is expressed in the color of clothing. As yet, my dear friends, we certainly do not have the opportunity to express our Eurhythmy colors as shown here. Otherwise, when in one line meets A and O, would have had to replace during the reading of this line one suit after another.Now we do not yet able to do. We then will encounter difficulties when you have to change the performance of the two STI hotvoreny.If the performance of the four stanzas would have to change 21 or 28 times, then we would not have happened.However, all that is presented here is certainly correct, because to really get into any sound you can only feel as well as its color. Imagine, say, sound A: Surprise, Surprise!Actually, the color is just the fact that the external is our sincere con content of.Color outside us - conveys our sincere content. Therefore, comes about because a lot of debate about the essence of flowers, they do not notice that the color is, in fact, the content of the soul, imprinted in the outside world. Let us now take a surprise amazement. In the form, you will feel the gesture was surprised tion, as a gesture And then you have to wonder: what has prompted me dit can form the same gesture - but only in color?And then, based on the sensitivity Islands, you will come to the exact combination of colors that is produced out of the blue, and purple, that is, from the so-called dark colors. Consider, however, the mood O. O is engulfing mood, perception in yourself, connect to each other.Need for this bright color. Here they are here (pointing to eurythmy figure O).
First, because of the above reasons, you can not use the flowers as they are presented here, but it is very important for you to be an attempt to work out to get a sense - than the color will be A or I, or U - expressing fearfulness because you then grows together with the intimate nature of the gesture.Thus, when exercises tions to conduct business as well, so even if only in the representation of dress as defined herein.Especially good dressing it mentally. Imagine the mood E - in which a pale yellow color with a slightly greenish tinge in the middle, pale yellow to greenish.Feels camping, as the red and blue are lost in the green.B while in the blue and violet color tion we return ourselves - A and U, which is reflected in the bright color of all that is self-assertion or in perception itself.For all that is representable an E (to be touched and to be persistent after a touch on) - the color green.You do get a green color when mixing yellow and blue, that is, join in the color of dark and light. In this case, you are expressing the color of the sound. So, choosing a color, you grow together with the gesture. Now assume that you caught - reason can not grasp such things, they can be caught only mentally - that some mental attitude, for example, the mood of E, is like this in color (indicating eurythmy figure E).Then you have themselves come to the conclusion that the whole mood of the poem breathe E. It can be a variety of vowels, but it is imbued with spirit E. Take, for example, some poem for eurythmy performance, or anything else, where we always feel unpleasantly affected and still can not get rid of this sen properties.This is the mood in the poem E. If we want evritmizirovat, is this mood, it's good for him to choose appropriate attire.It would be good to get used to the colors on the sounds, then we could get to putting on the color of entire poems. What I am saying, I am particularly stress for one reason: we should not think that if anyone learned A, U, E, I, O, then, and he already knows how to do.We can
say that he can, but this skill for themselves, because not yet proven that a person could look at this. You should not forget us, that as soon as it comes to gestures, as the impression turns out to be a huge impact subliminal force.And there is a big difference is when someone thinks that he made a gesture / (the ones who want to learn eurythmy with plaque think they make a gesture I, when they simply hold hands in this direction, in fact, because they are absolutely do I, they will do it only when the gesture will make a visible pulling it, so that was visible to stretch) ... there is a big difference if I do it anyway, if I do it or just so that my gesture is seen pulling.Make a time different - like arms stretching out in philistine and as is the case with the free art /.(Sung). What we used to do normally - it does not I. And now we'll do a free-artistic. Free artistic gesture should in all its flow is accompanied by a feeling and a sense of being given, as they are in separate sounds.Yes, my dear friends, this can only be achieved also really studying individual sounds. And we need to study them, pondering the robe. Therefore, the very kind of eurythmy and way of dealing with speech must be imbued with color, and a person must have a tendency to color the experience. Experience in color was common for people in times of ancient clear vision, and now it is lost.Only a few neurotics it is, in a perverted way, manifested by the end of Kali Yuga. And while there were people who spoke that Vienna has a dark purple color, Czernowitz - yellow, Prague - yellow-orange, Berlin - gray-yellow, reddish-Paris-sirenevato-iridescent and so on. There were people, which rye as saying.If at all there was a sense of something similar to what the city has its own color, it would be possible to come to something relative to what they have to say. Similarly, each person has a different color. Of course, however, in fact, and its color is astral body, but the astral body color varies in accordance with emotions, etc. And yet every man has a primary color. And, actually, you could ask people that
Kia questions: "Were you there?What the man you saw? " And you would be responsible, "I saw the blue man." And the other would say, "I saw a red human ka ".All this, of course, quite reasonably. So you can feel, because that's exactly the same impression as that which occurs when we see a simple, ordinary physical paint. So it is good to combine certain movements with the character of The corresponding colors shown here (eurythmy figures).So pack razhneniya can be made as follows: practice in A, U, E, G, I, but the way to get going with a blue-violet, yellow-green,
yellow-green,
reddish-yellow,
reddish-orangish
color
zhelotovato .These often involve the same movements: they give are of sound, that is how they are received and of the colors.With this eurythmy movements are particularly flexible, and you'll see that in this statement they will be really filled with taste. At the same time, we will finish today, and tomorrow will continue to feature some of the mental states.
Lecture Seven
Dornach, July 2, 1924 Plastic design of speech
My dear friends! Eurythmy only get inside the art form, COH yes every single evritmist will in all particulars, the details of his work does come from the nature of the question. T o
evritmizirovaniya inner understanding speech sound is almost as necessary as the need may familiarity with the movements that are enforceable.Therefore behold Available-I want to show you that the plastic design of speech has a certain influence on the performance of eurythmy.The center of gravity always eigenvalues speaking, comes to plastic, to take shape due to the fact that in eurythmy our challenge is to express in visible form in the visible image of that in the language couched in the form, but apparently did not manifest as goes into sound. Take, consonants, because they are the most suited for the interpretation of the plastic, as imitating the external process and the external things.From the point of view of plastics sounds different: IME we eat first, sounds that are quite clearly modeled upon, say, the sound or the sound F S, then the sound will be clearly formed on the model of B or P, or the sounds of D & T. If you compared the two groups Nita with each other, you will find that they are very different from each other.Sounds S, F are such that the flow of air from the inside to the outside sees.Other sounds - D, T, B, P, in which the flow of air internally connected, it is not blown and ejected.Thus, it is necessary to make a clear distinction between the
blown out and pushes sounds. This difference results in a very big difference, and in the very existence of these sounds. Blown sounds pass, so to speak, the inner man to the outside world is more or less passive. They enjoy the flow of air expiration emogo to make "airbreathing" of the body and thereby liberate the whole body image bodily form (die ganze Gestalt des Koerpers).Thus, the blown sound calculates that outputs DIT outside air. However, the flow of air being blown out always takes the form of the body. It is not stored in the external world, and is scattered, so blown sounds always have this character, like they give themselves, they just go along with the outside world. Thus, we must consider the blown sounds like the sounds coming together with
the outside world, accompanying him.A person can do with the outside world is what the world wants, but certainly not with the physical body, and with the bodily form, which he donated to the blown air. Propelling the sound is quite different. If you pull out Kiva sounds we possess a form of breathing.In the end, we contributions dyval some way our "I" in this form of breathing and how to give orders to the sound that it does not dissipate immediately, while falls to the outside world, but that there is a one form.Thus, in relation SRI outside world ejected man becomes master of sounds, so you can not then have to say, "to go along with the world," and I must say: "n royavlyat its internal." These instructions apply to the most important, the most numerous sounds that are the sounds of consonants. It should also be said that in this case expressed sympathy to the outside world with the blowing sounds and Simpa ment to himself while pulling sounds.Blown sounds are not selfish, pull out Kiva same sounds selfish.We also find that when we use the buoyant sounds Xia, always sharp outlines the contours of what we want to identify. You've already learned that the German language has a high plasticity. Take, for example, a word that begins with the sound ejected: In, «Baum» (tree).You will notice that wherever there is expelled sound, sharply delineated contours, and where there is a blown sound, sharp contour ditch is not required, but must, on the contrary, the mark of something, avoiding sharp outlines, for example, «sei» (whether) , S - blown sound.
In order to acquire these good things, we must, of course, always with substantial refrain.You will certainly find a lot of words, with respect to which we can say that they have to express something sharply defined tion, and in them, meanwhile, will be blown sounds.But even in these cases, we should still look for, how could represent something raseivayu scheesya no clear outlines.
Thus, sounds exhaled following: H, CH, J, SCH, S, F, W, and, of course, V - this is the same as F. Pushed sounds (Stosslaute) include: D, T, B, F, G, K, M, N. This all sounds selfish state of mind, the sound of his own manifestation of the human essence that want to keep the outside world. Then we have a sound that stands out completely. It's R. It manifests itself spinning.This sound is shaking when he pronounced. R is thus vibrating (shaking) sound (Zitterlaut). And then we have a sound that, if properly pronounced, ranging years through our internal movements of the tongue and makes it look like the sea, the variability of the storm.L. This language should we do with the same movement as the sea.This is a worrying sound: L (Wellenlaut). What do we give these two sounds? We need them when we want to express not only the return itself or the manifestation of its internal, but we want to express what is on the move in the currently.Motion and shape are fully expressed in blown and ejected sounds. Is located in the Movement in itself is not expressed well. If we want to cover all the creature R, we have to say that it is something that lies midway between the returns themselves and self-assertion.R is something that is self-restraint, reticence in the soul-spiritual nature of man.Therefore, by R we express that covers just as we cover ourselves yet - we recommend.«Raten» (advising) - it is a word in which the sound of R is particularly characteristic value.«Raten» (advise) means that we will turn and start fiddling with our judgment that it is not ready yet.When we are dealing with R, we always get it spinning and turning judgment.Anything that looks like a spinning and turning, we will be denoted by words, which is the sound of R. It is, therefore, somewhat selfish, not wishing to transfer to the outside world to stay in it that is generated by them, and wish to keep it for yourself.
And in L, and this, again, sound thinking, but with the impact itself.Instead of eigenvalues solutions prefer to be told, offer to solve another, waiting, inwardly experiencing L. Now the problem is that fact that you live through this plastic nature of speech sounds really see in eurythmy. That which is blown into the sounds we eurythmy driven out, so if we move our bodies that move along with it sounds, that is, if we try to make our body move followed the sound E.Suppose you make the sound S and bring your body into a movement of like if you wanted to get it to run after the sound that you form your hands.Try to make the first S calmly, and after that, make it perfectly clear, so that you can see what you want your body to go to him in a track.When moving ahead run after it the top part of his body, when moving back and go back upper part of your body. All you need to keep the body in his power, and by vibrating them fall into the sound (in den Laut hineinschwingen).Do this also with the F, force it (the body) to run after the sound. Suppose you say the sound is pushed out. The challenge is to make the sound being ejected in the gesture. When ejection Vai sound body should act not by the movement, the action of the body should in this case be manifested in how it keeps itself.It should be clear that it wants to hold, to fix the motion, which passed in the sound. Make the first B as necessary, and now hardened, keeping your position.Freeze (zastynte) so as to make it clear that you were detained sound that you froze in your body so that you feel it in your muscles petrification. That's petrification in itself and gives the buoyant sound of his true character. It is important as it should look for such things, because with blown sounds, in fact, say: "With Lucifer I would not want to have anything to do, let it be gone, that is the Luciferic." When expelled make a sound, expressed the following: "I want to keep Ahriman, it should be kept, because if he leaves, then all the poison, it should be withheld." Thus, these sounds and imbedded something Luciferic ahrimanic.
R will be performed completely, when they try to make the traffic is light, with a rocking body and a good moving to and fro. Movement of L will truly, if the body rocking back and forth, not leaning, however, following the movement of the sound.We must show: these are the two movements of (sound and body).If you like the sound of being blown out to run after the motion, the body makes, so to speak, the same movement as the sound. When you make a sound wave motion of the body itself, swaying rhythmically (forward, backward, forward, backward), so that the body does move when you re step on your toes with heels.You do it well, if we imagine that the stick is a round, rotating and moving that it is under your feet and between the toes and heels that you swing on it. Best of all you do is come out, if, rocking, you'll almost fall forward, just to keep from falling. If you are in this once did fall, it does not mean anything, then you are just truly internalize the movement. If you do so, these movements will gradually enter you into the habit and you will be able to perform them so much that the fall will look Nastola to complete that the viewer will always be the feeling: "deftly, however, that he did not flopped" .Here it is necessary to reach to the viewer when you make L, was such an experience, "but he does it deftly, because otherwise he would have fallen!" That's the way you really get to cover the entire inner nature of speech sounds. Knowledge of speech, we can expand if you try to understand the diphthongs (diphthong sounds).Diphthongs are produced when connecting their components. With Fraulein, do-us some EU. What is it? The components of its E and U. They're both in it locat dyatsya, but both are not fully formed.Now try to make the E and E U. Try to keep it in a state of emergence.What would have happened if it were a fully formed? Suppose that you would have given him experience in its totality. Stop him now in the middle of the occurrence tion.Well, now it is not yet manifested, and we have to move on to the
U. If we did U entirely, to the end, what would have happened?We would have led him to a state almost incessant touch. And POE that you do not just cross your hands, as in E, but designate a desire to move up to the head (die Beruerung dadurch andeuten, dass Sie bis an den Kopf heraus wollen).Now you get EU. Thus, we realized being diphthongs. We connect them with the component parts, giving them, however, be final. We also understand that being part of the general sound of speech. On diphthongs you can best see the transition from one sound to another. Well, now let's talk about this transition. When is the best evritmizirovat some text? There is such an Austrian philosophy Sof, which in later years he wrote his most difficult philosopher skie works, written in such a way that they can be evritmizirovat.It Bartholomew Kerner (Bartholomaeus Carneri).He reached right up to the madness, if
someone
wrote,
for
example,
the
following
sentence:
«Lebe
echte
Empfindungen» (Long live the true feeling-feeling).For him it was terrible that one word terminates valos vowel and vowel also started the next word.He demanded that this has never happened in the end to avoid the voice tion when the following word begins with a vowel, too.He even wrote Tse lye newspaper articles, in which he tried to not connect the vowels, so touching words only according to the letter. If you are in eurythmy performance vowels will face each other, or if you move from one word to another voice ITATION will be faced with consonants, it is necessary for the transition of one word to another to make a soft movement.If a word ends in a consonant, and the next begins with a consonant, then your movement made decisive GOVERNMENTAL, you are making a determined movement.In eurythmy is of great value of how the sounds are facing various kinds, and it is necessary to pay attention.A study is best for diphthongs, because
they may be formed only in this way that the first sound is taken in the first half and the second sound in the second half. Now we make under this Act El.If we are to have an El, then first make a point of it elements of E and I. Now, try not to let E be formed completely, hold it at the beginning, and apprehended him in the beginning, go straight to the final gesture of the sound /.Here you have it turned EI. Example, «Mein Leib ist meiner Seele Schrein» (My body, my soul's tomb).Proevritmiziruyte this phrase so that you have drawn the attention of what it consists of sounds ejected, ejected, the waves are pushed out, blown out, ejected, ejected, ejected, vibrant, blown, waves, blown, vibrant, ejected, and thus perform well El. You can see how the case was revived and was moving! But all that is necessary to really explore. Look what effect the El, if it really do with a proper force.Miss T., take for example the movement: «Weiden neigen weit und breit» (Willow slope and wide throughout).You see, it is necessary to express a certain "paradigmatic" language that willow clones everywhere.I throw «Sich» (-be).You see W - blown sound, D -
expelled, N, N, G - ejected, W - blown, F-expelled, H, D, B - ejected, R - trembling, F - expelled. Try to make a evritmizirovanie all that lies in these sounds, and notice how everything again and again appears this distinctive sound EI: «Weiden neigen weit und breit». You can use the example of another diphthong - AU. This is also a differential tong, in which the first can be simply translated into the other. And try to keep in the stage of its origin, that is, in the first part of it, then put it in the U. Make A point of going forward.Now you have to deviate nitsya, and before will receive the desired position, turn the A to U. Go directly to A to U, then you will have the AU.
However, when a moving, then regardless of what is currently AU, it still remains uncharacteristic sound.On the contrary, if you are up to stignete that will start to make a move And with one hand and then, starting to lead his other hand in contact with the body, making a U with his body and just touching it, you will only have the characteristic AU. However, we do U, not only in the case where both hands touch the body, but also when the stand, and we just touching the left hand to the body, it is slowly lowered.Proevritmiziruyte, for example: «Laut baut rauch» (sound builds roughly).The case is now not in a sense. We just want to proevritmi ized these three words one after the other. That's all you need to explore the AU you can do, of course, many different ways it can be done only touching the body (right arm in position A, the left across the chest).Try to get into the spirit of things. In order to penetrate into the inner formation of sounds that make it, do the gesture Ö. To do this jump movement Ö. Make it very gracefully, it's tearing motion
O. Now add to this shift: it turns a lovely, well-marked Ö. Make Ä. Take A and E. With the legs do A and B in such a way that the movement went from front to back, set aside one leg, E - hands.Thus you get Ä. There are still Ü. U. Do It is interesting that the external surfaces of the hands are placed at each other, U, I, and U and I, we need to have it at the same time.U in the legs, I will get you because it is the movement of the hands you somehow fraziruete.Thus, mind you: instead of immediately I do this (pulling) make it so (press the brush to each other, to others on the other), then it will be Ü. To be seen how well it will turn out when you've done this, proevritmiziruyte, such as the following: «Prüfe dich, Schler, / Übe mit Mühe» (student test yourself, practice your hard). Do it all with the motto: «Prüfe dich, Schüler, / Übe mit Mühe».
In so doing, we penetrate into the essence of the sounds that we feel are composed of elements. What are the general diphthongs? When do we meet diphthongs and public umlauts (reduced vowel)? That represent a Battle in the language of diphthongs and umlauts?You see, in all cases where the meeting are diphthongs and umlauts, there is a feeling: it is becoming fog nym, inaccurate, vague.Inaccurate things are all in the plural. For example, when there is only one brother, all is clear. Consider, however, the plural and once in our inspection reveals some inaccuracy: Brüder (Brothers).And always, when something becomes inaccurate consideration (which is very important for any consideration), and there are umlauts. Diphthongs, there is always something that consideration is not sharply defined. «Baum, Raum, Zaun» - everywhere you encounter the need to combine separate items and are generally an essential element of education is the word diphthong. If you follow the diphthongs, you will notice that they call The necessity not only to consider certain thing, but considered in conjunction with something else, or as one gets to the other, or that something needs to be connected, or, on the contrary, is separated from something else.We are in it (diphthong), we find a kind of penetration. That is why in eurythmy and is so wonderful is that it is directly observable movements that we have in A or I, are diphthongs in fluid movements that differ grace and fluidity.Eurythmy has the property to reflect the nature of the deep sound, all related to the question. Well, now I will do the following: ask Frau W. and Miss C, do one after the other: I, E, U. For you will still Frau S. A, O. Try to do so, to give the clearest expression of these sounds: you, Miss S. - i, Frau S. - A Miss S. - E, fr.W - Oh, fr. C - U. We will do so in order to put the character sounds more clearly.
Well, now look what happens. Miss S. - I, Frau S. - A. We can see that Miss C, making I, goes to form, and Frau S., making A, defines the shape.Miss S. throws out the sparkling flame (you can do it with one hand).
Frau W, making the A, draws from outside the clouds or wind.You can see that one is fire, flame, and the other - a form. Here, you will always have radiation, and here flexible formation. Here, at the Miss C, you are so pure Dionysus, Dionysus vowels, and Frau S. - pure Apollo, Apollonian vowels. All this should detect with certainty camping, if the movements are done correctly.Thus, if you have a poem in which mostly come across O and A, then this verse the creation of a generator, quiet, Apollonian.If you have I, U and E, then they will fire this poem Dionysian. You see, therefore, that between the lines can be expressed emergency but many.It is necessary to tell Miss C: make us I or E, and Frau S.: make us A or O, and we, in fact, the most say, you - the favorite of Dionysus, and you - the favorite of Apollo, Dionysus Sacrifice, Sacrifice to Apollo . If you get used to all this, thanks to the Eurythmy can be a wonderful way to comprehend the nature of what the language is capable of, and totally get into what is the attributes of man. Blown: B, CH, J, SCH, S, F, W - to go along with the outside world Pushed: D, T, B, F, G, K, M, H - show its internal Vibrating: R Worrying: L.
Lecture eighth
Dornach, 3 iyum 1924 Word as a symbol and the word in its relationships
My dear friends! How was it with the tone and the sound should make a distinction between what goes down
B
the physical world, and that rises up in the spiritual world.Up to
now, we have, in fact, little heed to this distinction. Just yesterday, at the end of the report, I could have pointed out that when the sound becomes a umlaut, we are entering into what sensually in solid outline is no longer about is, as manifested in a vague form of dissipating.And it is already getting into the spirit. Separate brother (Bruder), I decree the shaft is visible.The important thing is sensual with solid outlines the impression we get from it. The word "brothers» (Bruder) denotes a not so much what is each brother individually, but the fact that they are all together.It turns out the perfect combination and it's become the ideal of this spiritual formation and is umlaut. However, this fact forces us to turn to the diphthong They offer us something experienced as much more spiritual than what is experienced in the individual components of the diphthong sounds Because exactly the same as in the music eurythmy spiritual element of music is, in fact, did not play in the tone , and in that lies between the tones, which is not a tone (tone is, of course, in the tone, but the music itself is between tones), and all that is in question refers to the spiritual, is not where it is sharp emphasis on the sound, where the sound is released, which makes some stops on the sound, and where one sound into the next.The spiritual is, so to speak, between the sounds. You, therefore, will never achieve spirituality in eurythmy, if you settle for the release of sounds. Spiritual you will achieve in eurythmy when you manage to make a certain kind of transitions from one sound
to another. Thus, that outputs a sound from the other, this gives a true spiritual eurythmy movement. Added to this is also another factor.The word has, in fact, a dual nature.On the one hand, it seeks to ensure that the external appear imitation, on the other hand, it wants to express it took a certain place in the overall world order.If it has now been more inclination to learn languages in a spiritual attitude research institutes, ie, in the form in which they come from the genius of language, it is very important to have lent an interesting fact that in the configuration of the words referred not only to the individual values, but Also the ratio of some of the process, in any words designated items to the totality, integrity, or at least a significant part thereof.All that we have unconditional conventionally taken into account. Because, you see, the speaker, that is, the one who wants to use any phrase in a particular word correctly in a particular relationship must have a purely instinctive (intuitive) sense with respect to sound. He must feel that he is referred to in the whole communication with the rest. Well, that we shall speak in detail. Now I would like to show, or rather talk about how the word is, on the one hand, referred to them, and on the other hand, - the possibility of going beyond the words in those relationships that are in the word. Here it is best to start with some examples. Take the first word with a well-expressed zhennym value of, say, personal pronouns.From the beginning, you clearly denoted put you in some kind of communication or, on the contrary, makes it stand out from the context that, in fact, one and the same. Let's say that someone standing expresses «Ich» (I).Fr. V., make standing «Ich».That these gestures I and CH you have an expression for «Ich» - «I am." Immediate sense would thus appear that in these movements s something missing.Gesture absolutely correct. «Ich» is expressed with visible language, but there is something missing.There is a feeling that is made in such a way tion «Ich»,
in fact, is depicted schematically, but so perfect, as indicated by the person in the portrait.Such «Ich» not vital, because it lies beyond the opening of the "I" the spirit of man can not find full expression.That same spirit is the word «Ich»?The return to yourself attitude, presentation of himself, representation tion, returning back to himself.And if you want to express the reflexive attitude to yourself, you can do it perfectly in that calm state leave here to go into motion. So, you take two steps forward and then two steps back, forward, back, forward, backward.
The path traversed by you forward, you repeat in the opposite direction and return to the starting point. Now, when you go two steps forward, do I, but when you go back, do CH, and then you will have the «Ich» in motion (Schwung, Bewegung), and, moreover, in a move that returns to itself, similar to the as a representation of «Ich» is the right to representation, which finds itself again in himself. You do that when I go two steps forward, two steps back, CH.Then you will find the necessary form and exactly the form that follows from the fact that a sense of the whole. We now turn from «Ich» to «Du» (you).Here we see an entirely different meaning entirely different relationship with the rest. Fr. Since, follow us «Du», remaining standing still: D and U. Of course, if you do «Du», standing still, you will again not satisfied, because the image will turn out just the image of «Du», a not self «Du».There is no life. It is not the spiritual that is produced in this combination of sounds. Let us try to find the transition to the spiritual, his meaning. At the word «Ich», as it is already quite clear, we return backward but to themselves.At the word «Du», if really enter into it, if really keep in mind the other,
on the contrary, you come out of yourself.Then can no longer go back again on the same line that was, do not touch the same points, which concerned the first move in one hand Well, because otherwise we would come back to him.And this can not be done. On the other hand, however, one can not quite get out of yourself, because if we were completely out of yourself, then we would have no «Du», a «Er» (it).Feel it carefully. If you are completely slip out of yourself, before you will not «Du», a «Er» or «Sie» (it).You should, therefore, little point back on itself, and it can be done if the move «Du» back to only one point from those that have been passed in your movement.
Here (crossing), this point to which you're back. If you do so, instead of moving back and forth go so that the return to one of the Tes passed you points, then you will move «Du».Well, do, going in one direction, D, going back, U, but so to touch one point passed.Now you got all the «Du» in motion and made sure that it was neither «Er», or «Sie», and that you still have some connection with them.This relationship can be strengthened if we wanted to do more and more strong emphasis on self (to highlight, so to speak, an aspect of the first person), so that the output of himself getting weaker and weaker, it would be possible to do more with
U such a move (ie cross at two points).
In this case, however, it would not be gentle «Du».If you do that, you get a «Du» more restrained (verkniffeneres).All this, however, things that can be covered
only by the feeling. But the sense of possibility makes it possible to comprehend it very well. We have already pointed out how you can go to «Er» (it).«Er» can be expressed, if during the return shall not affect any terms, which forms a forward.Best of all you can do it, if you walk on the line forming a circle, then going back, we absolutely do not touch upon the path that paved, so to speak, in the form of certain points, when there were impres Ed.It turns completely returning to the line itself, circular Vai line.
Back to you with no return, and if the back, the movement of already exhausted.We are thus a line that does not touch any point of its path twice. And that you are expressing «Er».Miss Z., come here and make us «Er», standing in one place.If you stand still, it does not «Er», it does not even feel like the reflected image.It turns out, in fact, only selfish contemplation of another second, of itself while not quite come out.Take now the same form, describing a circle and stay ahead of the point from which you started. Sde LITE E, slipping to one side and then the R, sliding into the other, and you will see how great it will present at «Er». This exercise «Er» I gave to do in certain combinations of sounds and in such a way that it begins with the words like «Er», namely «Der», and then went «Er» so as not to return to any of the points made line.Fraulein III., Perform our «Der Wolkendurchleuchter» - «Pro svechivayuschy the clouds."Make it so that everywhere it is what we're talking about. Der Wolkendurchleuchter, Er durchleuchte,
Er durchsonne, Er durchglhe, Er durchwarme Auch mich.
Translucent clouds (clouds) Yes, he pierces the light Yes, he impales the sun, Yes, it will penetrate the heat, Yes, it will penetrate the heat Me also. You see, this is done so that the whole nature of the data «Er» from the beginning to the end, because there is predominant «Er».This is done so that «Er» passes on the move through the entire poem. One could, however, make it another way, namely as follows: each time it encounters a "Er», do circle and generally make the circle again.Thus, at each occurrence «Er» do circle then go further back circle again on again circle again on.Thanks to it all as a whole takes on an entirely different character, completely different movement.
I would like to say this: in the first case we have a feeling that we no longer have to stick to what is in the whole phenomenon as whole. In the second case, we have a feeling that we must adhere to certain processes - threading the sun, radiographic, calcining, warm. If we are then on «Ich» go to the «Wir» (us) on a solo dance move on to the round dance (as «Wir» - this is always a certain amount of at least two).If, for
example, we will have two of them, then we express by means tion range of belonging to each other, that is, the loss of self in «Er».We stand in a circle and «Ich» everyone to express the fact that each will take a few steps to the center, and the sounds we are at the same time express the «Wir»; then back, forward and back.So on implied «Wir» contrast In particular, opposed to each other.You can do it like this: if the two are facing each other, the first approach, then removed, approximate huddle, deleted, expressing the inner meaning of «Wir».
If you will have four, the range will be more perfect. And so on time, stepping forward and stepping back, you signify «Wir» (we are).The connection to each other can be expressed in the fact that you are connected with each other wrists. If the two parties, it is more difficult to do. It turns out very beautiful movement «Wir», when four stand in a circle to the center and back away, indicating that «Wir». Let the four evritmistov become in a circle and do «Wir» in a way that I have.Start with a circle, holding each other's hands now, holding hands, take two steps to the center: W. When you're in the middle, then go to /, stepping back, you turn movement in R, and again take each other's hands - «Wir».But I need to be in front.Thus, we get «Wir».In this image you can get very interesting from Tenko.You just need to always feel «Ich» and «Wir». Now you will learn something that can be extremely beautiful. What happens when we get up in the figure specified way (but do not we take memsya each other) will make these sounds back, and all four of them perform this movement?Will «Ihr» (you)!Here we have a «Du» in the plural!And at the same time this will be signed and the indication 'away from you »(das Wegweisen von sich selber):« Ihr ».
Now intoning (ie voicing eurythmy movement.. - Ed.)«Ihr».From the beginning, you do «Ihr» with the direction of py kami ago.Thus, it is possible to put into motion a very large sense. It is important that we all felt this good in a poem. All this is very characteristic. And that is experienced in these specific layers wah, what are the personal pronouns have to worry all over again, when these words are found in the construction of sentences.Suppose now that the three of you and you do the following:
You get up and make such a move. Then it turns plural «Sie» (they) because a lot of "Er" give «Sie». These movements should be given a special characteristic expression, guiding his hands to one side, all in the same direction. Hence it is necessary to begin and here you come again. Thus: «Sie», «Sie», «Sie».That's when you will be in direct «Sie». Now, there must be a natural question: "How. all application thread?"Because to do all these movements on individual words but can not be perfect, but on the other hand, at a certain speed and agility, which can be achieved through exercise, with single words will come out« Du »,« Er »,« Wir », «Ihr», «Sie» and it will be very nice. In some poems directly distinctive character «Ich», in others, particularly love the character of «Du».A number of poems in general clearly expressed character «Er».I recall in passing that these are all the elements of creation of Martin Greif
(Martin Greif).True character of the poem you catch only when you feel it the character «Ich», or «Du», or «Er» and give the poem in an appropriate form.Especially perfectly possible to do this if the objective character, the character «Er», «you move out of myself" translate into subjective.Take for example a poem tion, which in many respects is useful to us that in all of its features exactly designed to study eurythmy.We take this famous (we) poem: lieber allen Gipfeln Ist Ruh; In allen Wipfeln Spuerest du Kaum einen Hauch; Die Voegelein schweigen im Walde Warte nur, balde Ruhest du auch. Above all vertices Silence. For all the tops of trees You pochuesh Hardly a breath. The birds are silent in the woods. Wait just soon And you can rest. Analyze this poem completely objectively, "Above all vertices of silence" gives this character «Er». "In all the treetops you hardly feel the slightest breath" - go to the «Du»; «The birds are silent in the forest»: - «Er»; «Wait just a rest and you will soon."
Now you have to ask the question: what is the character creation to give this verse - "I" or "you"?Goethe said it himself. You can try to do this in two ways. Do it prezh de everything so that you had "Above all vertices of silence" - "He", "In all the treetops you hardly feel the slightest breath" - "You", "The birds are silent in the forest" - "He" "Wait just a rest and soon you" - "you." Thus giving the poem sequence, one after the other gim, the character "He", "you", "he", "You" and see the entire process of Tsaki feelings expressed in this poem, poured some form.Personal pronouns when they pronounce the certainly are presented are a condensed, crystallized a feeling that can be poured out of the entire poem.In this poem, the first line of the vi melts "he," on the second "you", "back then" he "once" you "or, as we shall see, on the last line can be" me. "Now do the same poem on a different form, "it", "you", "he", "I". Here you can see that given the character of the poem "I," that there tively changes the nature of the poem as a whole.If, however, try to execute Vat poem, performing it as one, and on the other MUs way, we can see that the second method will return.Then of course you feel that the right is the second method. And you can at least in this poem is quite wonderful way to learn how to survive the Vat as a form emerges from the poem itself.To do this, you just have to learn to feel the connection of things in the relationship of sounds as well as in the personal pronouns TION. Think of how well the development of meaning may be, for example, a brief little poem, if it applied to what we said: Schlummer und Schlaf, zwei Brueder, zum Dienste der Goetter berufen, Bat sich Prometheus herab, seinem Geschlechte zum Trost Aber den Goettern so leicht, doch schwer zu ertragen den Menschen, Ward nun ihr Schlummer uns Schlaf, ward nun ihr Schlaf uns zum Tod.
Drowsiness and sleep, two brothers, called to the ministry of the Gods Prometheus begged to send down to comfort his old, But so easy for the Gods, it is difficult borne by human beings: Snooze them become our dream, and the dream has become for us their death. It meets twice «Uns» - for us, although it is case of «Wir», but we will consider this word, giving the nature of the form of the poem «Wir» (we are).When viewed from this perspective, it is possible to make such analysis: "Nap and Sleep, two brothers, called to serve the Gods" - a pure «Er» (it). "Prometheus begged to send down to comfort his generation of people (old)" - a request to the kind of "you" is always there, "You." "But so easy for the Gods, it is difficult carried by people," - here we must move on to something that is felt deep inside. Complete knowledge can priobres Only five developing this thing really in keeping with the knowledge.It is necessary here, so apply what I told you about the "Knowledge" (a gesture of knowledge). "Slumber of us has a dream, and the dream has become for us their death" here we are facing a fate common to all men, because they are human. We have, therefore, «Wir» - «We" - the form of a poem by far the quickening we get if applicable forms obtained, first, from a place of personal estates, and secondly, when we apply the cognitive forms wherever really there is a spiritual one.So, I must say that we act of a regular, if the forms, which met, will be considered as basic and applied them freely, but have to use them at the same time it was quite meaningful. Miss C, try to make the first line, giving it the character of «Er», then spread the movement «Er» outside the lines, corresponding to the dance with the character of the whole picture.The second line given the character «Du».The third line, do this: during the pause between the second and third lowercase Coy - a gesture of
knowledge, after learning the lines moving again, and then you finish the movement «Wir».One you do all this, of course, you can not. Poe due to the right and left wings go on stage the other two, and then poured the last line in the movement «Wir».Here you can see how to build it all. So get a form from the poem. I would like to see from all this, you understand, as it should go study chenie eurythmy.Of course, I can only show some simple examples. When eurythmy want to sound poem, you have to know not only the text word for word, but all of its content with all the means at its shades and configuration experience. And no one should take up evritmizirovanie poem without specifying a preliminary question: what is the main character of this poem? What is the nature of his art? Take, for example, the following poem of Goethe: Seid, about Geister des Hains, of seid, ihr Nymphen des Flusses, Eurer Entfernten gedenk, euerer Nahen zur Lust! Weihend feierten sie im Stillen die Laendlichen Feste; Wir, dem gebahnten Pfad folgen, beschleichen das Glueck. Amor wohne mit uns; es macht der himmliche Knabe GegefnwaertTgl lieb und die Entfernten euch nah. "You groves of perfume, you're on the river nymphs, remember distant from you, will be happy for loved ones, connected with the initiations, they celebrated in the quiet countryside, holidays, and we follow the paved path, strive for happiness. God be with us Love, the divine boy! Makes Liu beat those present and distant relatives do. " Do this poem eurythmy. "Oh, the spirits of trees, oh, the nymph of the river" what else but do not appeal to the "you"? If this poem will ev rhythmical many, in the beginning you can give it the character of "you" or "you", as we are supposed to do.So we'll start with "You." "Remember them that are far away from you, be
happy for your loved ones" - then again, "You." "With the dedications they celebrated rural holidays" - "they". "And we follow the path blazed by stealing of happiness" - "we". "Long live with Love us, the divine boy "-" He "."Makes you love the presence of existing and does remotely close to you." - "You." Repeats «Ihr» and «Euch». Put three evritmistov and do this poem, giving it the specified character. Understand yourself said, "You", "You", "they", "we", "he", "you". Each line added the relevant character. But it can be done differently: the two can not stand, and the third makes the movement «Er», then it will also be released well.So, "Let Cupid is with us, the divine boy" - this must be done separately, and now all three of them make the move «Ihr» (you): "Makes you love the present and makes remotely close to you." We thus see that with eurythmy forms is always the opportunity to learn and also a poem.
Lecture ninth
Dornach, July 4, 1924 Die gestaltete Rede - decorated it
My dear friends! Today we need to discuss some issues related to the decorated tion speech, a speech, gradually becoming art.Eurythmy movement tion we can do standing still, or move in a space walk.We have already seen how, in fact, the value is in use. Boating is, in essence, the expiration of volitional impulse. B evrit business mission is to penetrate into the essence of which is associated with speech, and in consequence of this and a speech visible.In walking can clearly distinguish three different phases:
1) lifting legs 2) bearing legs and 3) setting up. It is necessary to bring to his mind that these three phases can be displayed whole composition (Gestaltung).First of all - a raise. After a while the foot remains undelivered. She Carried. The second phase thus is the bearing leg. Third - this statement. When walking in ordinary life, the details stop its attention to all this, of course, is not necessary. But Eurhythmy must reach outward: 1) separation; 2) transfer; 3) production. So, is there a big difference between the manner in which the three phases. Take the first turning up his feet. It clearly indicates the volitional impulse, lying in the act of walking (heel separation from the floor - focus on detachment ve - will).Thus, when lifting the legs, we are dealing with a strong impulse, lying in the act of walking. If we then look closely to what is to move your feet, you will see that we are dealing with the idea that underlies every volitional act. Thus, we have to deal, first, with a strong momentum, as such Vym, and secondly, by transferring feet, we are dealing with the fact that depicts an idea that finds its expression in the volitional impulse.And in the post Installing feet volitional act is completed.In the statement, we are dealing with fact. 1) Lifting: volitional impulse. 2) Carrying: the thought. 3) Production fact. This movement can be diversified in that middle phase you make shorter or longer, can go further or closer. Thus, le taining in the middle phase should
preferably be of the idea that expresses itself in the volitional impulse, should give this idea image. In the formulation of the same foot you can express achieved or not achieved its goal your volitional impulse. Put your foot uncertainly, as if you stepped Whether on thin ice, and this approach you express uncertainty purpose.Place your foot firmly, precisely, with the certainty that will meet the firm ground, and it will show you that before you a definite goal. When it comes to the poem, which must comply, then you should us first analyze it and ask yourself which of these two sentiments it enfolds.All this, of course, can become clear only after the application in practice. Let us now turn to the other singularities tyam walking.Here we are confronted with the rhythmic gait and thus a general picture of poetry, poetry of which must integrate into eurythmy - in its movement, its shape. Here we are, above all, must realize that because of the accent, giving the benefit of long and short syllables in speech input rhythm.The rhythm must also come to light that we produce eurythmy. Skill with which we are concerned, we can not be called eurythmy, if it was not considered a rhythm. In this case, we immediately come up against something that is nonnegotiable when it comes to performance Eurhythmy word. It should but be deeply imprinted in the soul of everyone who in one way or another, has an artistic point of dealing with language.In our civilized society ve are prosaic and poetic language.But the further we fall back into the depths of human development, the more we see that in fact is the only poetic language and that when a person says, it always lives striving to penetrate the poetic, artistic element of the language. The essence of language lies in the fact that he always lies midway between thought and feeling. On the one hand - a thought, on the other - feeling. And, both we as
humans are going through inside. When we express ourselves outside when we open ourselves outside, then put between thought and feeling tion speech.
The man, who was standing at an earlier stage of development, has not been this recess within, the inherent sense of our lives in the present. When people feel something when he is in his spiritual standing with experienced any sense, he has, in fact, has always been a desire to intuit the words that did not have such a clear image as ours, but that certainly had an internal articulate tion sound.He heard internally, when he felt. But he did not think so, this ancient people, the way we think now. He thought the words. Only words that he thought were definitively than those in which he felt.He had, therefore, internal rennee sound in words, but is not as abstract thinking, as we do now.For him, the word embodied the internal sound, but does not delve into the feeling that needs no words, as we see in our present time.Only he who imagines how closely at this stage of development has been associated with the spiritual life of the primitive internal configuration of her words, the configuration of sounds will understand that the basis for the development of language, thoughts and feelings lie inside recitation, speaking in the thoughts and feelings of the person.This is an internal statement then, being differentiated, divided, on the one hand, the language remains in the art, and the other - on the music, pure music, endless verbal sound tones that affects only its sound that high.This second way we view the music eurythmy. Then, as a third otchlenilas actually thought. And today, we'll just that the language of the dismemberment of art and language, becoming Chille is now quite
prosaic, which are expressed only in the meaning and content of thought and completely manifested the desire to give the language as such, form. Over the last century, becoming more and more materialistic - in fact associated with materialism prose abstract thinking - that a real sense of artistic design language but completely lost.Currently, there is a huge number of people who have absolutely no sense of artistic design language, which language ke see only the expression of ideas. I would not say so in detail about these things if they did not have a huge real value is to understand eurythmy. Because in eurythmy we should have at rbsuzhdenii sounds come out of something that embodies an artistic element. We had to express the inner peace of the content of sounds, had to go back to the time when, in word, in him, it was felt that the soul experiences in the sound when the person speaking another zvukorechi (Lautsprache).Indeed, in the present zvukorechi no more. Now there are only smyslorech, we sense in which captured only the content of thought. Hence it is misleading, because of which the recitation in December acclamation and do not look at the artistry of the language in its musicality, imagery, and pay attention to the logical side of the language, which is also in prose; This distinction between the prosaic and poetic, or artistic speech evritmist must learn all my being. Because, in the final mately, to understand it does not matter, said in a dye or terrible, sublime or not.For artistic design is important is the nature of the speech internal feelings.Therefore, we must vrabotatsya in understanding the structure of artistic speech. First of all, there must learn to survive iambic and trochaic. Today we still do not care to consider whether the pentameter is when doing a weak stress on the syllable before the Procession, and a strong emphasis on the following or preceding RELEVANT when syllable is short and the subsequent - long.About these
features, which are responsible for the difference between the imaginative rapping and recitation, we'll still be talking. We must feel that, in fact, means when first syllable is without accent, and then accented syllable, and it continues to go on this pace: «Auf Bergen flammen Feuer» (lights blaze in the mountains).Here we have a syllable without an accent, and then accented syllable, then, without an accent, and then accented with and so on. At the end of a syllable without the accent (the last syllable) is eliminated. We start with a quieter, with less elevated, go to the stronger. From the weaker to the stronger. It gives the whole ha rakter exactly are we going to something exactly we want to achieve something.And if we go on this rhythm (and it is produced by itself, is only to begin with the first or second syllable), then we feel that we have to deal with internal rennim element of volition.Strongwilled character noted there NESS iambic language. We take the opposite: we start with the accented syllable followed by a syllable without an accent: «Trag mir Wasser herab» (blew my water down).There is just the opposite - the outcome of something strong and meaningful transition to a weaker, less significant. You feel that if you go beyond that rhythm, you just izoydet of something specific. But this definition can be divided in you only if you have a clear idea, a clear thought.You either do not aspire to anything, but right dik Tuyet your distinct idea.Thus, we are dealing here with the thinking tion, which is naturally expressed in doing, but thinking prevails. Volition, desire to dominate in iambic verse size.Thinking, design, implementation thinking in fact prevail in the amount of chorea. Of course, these characters can not be imposed by force. Of course, this or that person descent from the mountain may seem energetic, and he may come to mind to call it a volition, while the other would call it a poem desire. However, if you are deeply imbued with these mi things, you will find that the reduced value that we correctly.
The challenge is thus to actually enter the iambic and trochaic in our work. In doing so, we also have practiced. Miss C, selling LITE us first pentameter. And then now, to show the difference of characters, you can do ferrets. «Trag mir Wasser herab».Thus strongly tread. It is necessary, in such a time, with an unstressed syllable (Tiefton) make an easy step, and at impact (Hochton), with power to come forward.And besides, as a step? Step is necessary so that the first to touch the toe, and then put the whole foot. Evritmist stone should definitely pay attention to it.The challenge is to first touch the toe, and then put the whole leg. But you can not mince (forttrippelt) on his toes: we must step on the toes, and then put the whole leg. The fact that such performance does state gait characteristics of a meter, you will see the meter giving a stronger radio configuration.Desire, volition, desire we will present not as if raschity Vai immediately implement them, what will it cost per fulfill desires, we will be able to express by means of two unstressed syllables (Tieftoene), one stroke (Hochton), two unstressed, one of shock and t . etc.As a result we get, we anapaest: When compared with the iambic rhythm anapest everyone will notice the difference. Time the difference is enormous.Let's say that you need to express through anapest:
You see, we had a hard time with the weight of a certain approach to the stressed syllables. Here is the weight to achieve and there is an intimate, made out in the speech.This is a more intimate design language oduho satisfies it.Thus, the nature of speech anapaestic we first inspiration, ovnutrenie speech.
Miss C, do we need such a anapaest: «Von mir bist du zum Menschen gebildet». That's a distinct anapaest.
For eurythmy is necessary that something was visible.Eurythmy should be visible language.Equally important to be heard. And for this it is necessary that you are accustomed to allocate strong, then will manifest itself weak, falling to unstressed syllable.If you do it will show with the raising and lowering of the body, only then it will be quite evritmichno. Changing on ferrets, we dactyl: accented syllable, no impact of two.Take this example. (You can, of course, make icons and vice versa)
Try to apply the dactyl rhythm and you'll see that it's likely dictation, saying approval. To make this form of extending the present character, should not follow the rhythm, but rather keep up. You have seen here is that with Eurythmy can be expressed in relation shenii time.Here with eurythmy found expression over time. Eurythmy has such an expression means and time, and for about space.Of course, it is fully achieves this is not solo, but ensembles Blevio performance, however, to some extent it is available, and individual performers.One person can build a symmetric manner with his right hand and right foot or left hand and left foot. To form an image in space and one person can, but certainly for group performance can be up to Stitch a stronger, clearly defined.Such spatial forms provide an opportunity to enter
into a poetic part of the language. Enter with greater ease and flexibility than you can enter in the readings and recitations. Driven to complete recitation and reading of expression must, however, strive to embrace that inner-art, which revealed it possible by means of language.But eurythmy easier to achieve that. In about zaicheskom language thing is to ensure that, where possible clearly cover what must be expressed in a word or sentence.It is necessary, at least that was thought that covers. And in order to achieve the clarity as much as possible, use the language in a prose so-called mym definition.This definition, of course, a terrible thing, because for gives rise to the idea that something is clearly expressed, whereas in fact achieve a pedantic expression.If someone is not clear knowledge chenie Word, that no definition will help.In addition, even in the simple subject exhaustive definition would represent something zhuscheesya motion by endless convolutions.Because otherwise the outcome would be, as I once spoke for an example: once led the definition of "what is man" and found that it is "an object which has two legs, but no feathers." The next day someone brought a goose, and said that according to a determination is made - this man, because he has two legs and no feathers (goose that has been plucked). I must say that the goose is not always a man. Therefore, this definition is not apt. You can see that when dealing with the prosaic language, tend to give expression to direct a sharp outline defining the data subject tion.In this method of verbal expression can not, and do not need to stop on the decoration of language. When making the same language of art is always referred to the imagination, and the search should be, in fact, has always aimed at making a really fancy handle, that is, to provide the imagination to make something. This is attained by the fact that do not resort to gross definitions and generate a representation of giving fantasy opportunity to approach things implied in the inner kneading, design.
If someone says, "This water lily" - and will at the same time on the water lily, he spoke in prose. But if he says, 'Oh, blooming swan! "- That is expressed poetically, because water lily white CEE one rising out of the water, you can imagine as a" blossoming Leba AH. "You can, however, proceed in reverse, as did Geibel. Is pos lui, the most beautiful thing he had written.Can be represented in the form of a swan floating lily: About Wasserrose, du bluehender Schwan, About Schwan, du schwimmende Rose! (Oh, Water rose, thou blooming swan Oh, swan, you're floating rose!) But at the same ambiguous expressions are obtained. Obtained only approximate expression, approaching each other, but they always lead us to what they want to identify. What is, for example, that image
IS BASED
- "blooming Swan"?Flowering Swan
shows us his way of character of something that is not in direct tion of reality.It should have a look. We need to feel that he is not anything directly existence. But on the other hand, we must at the same time, feel the urge to go beyond that image.It was then that the swan does not bloom and makes our words The samples E, when we say, "Blooming swan."It is when we are feeling it, we specify leading to something beyond the subject, that's when we strive for what is to be said. The internal construction, design language rests on the ability to find images.And you, my dear friends, will be able to find these images, if vzhivetes in the fact that the sound itself is always an image that is not worth a closer relation to what he describes as compared to what I say, referring to water the rose, "Oh, you're blooming swan." This is because the connection sound so that it is resting on no abstraction, and directly vennoy life.
And thus, any use of sounds based on the fact that the sound is an image of what it must designate.When taught to see the images in the sounds, while at the same time learn the experience that you want to use figurative expressions. Arises is with the understanding that the poetic, artistic language, being the language of registration, must have images. You see, when I say a swan, "O thou, floating rose" - or formation schayus to Lily: "O thou blooming Swan" - then I take something characteristic inherent to both of them - a dazzling whiteness.Actually, the only common thing between them dazzling white, everything else is different in both. If I want to express their spatial relationship, then it can only identify with the words: dazzling whiteness they shared, and all the rest are different. Such images can be created. They always are metaphors. Meta handicap is in fact such a way that utilizes one or more of the signs that show affinity ing image is subject to two items, one item you have in mind, is portrayed by another object, which do not have in mind.From one subject is taken for something other object. Thus we get the metaphor.
I purposely did not give such a characterization, which is usually given because that feature is not artistic. I do not characterize in terms of logic, and try to uncover characteristics of metaphors, based on its own elements. Come on. You can also do the following: You can take a picture of something narrow, meaning something widely encompassing.For example, referring to all the beasts of prey in general and wanting to be possibly indicative, we're not talking "predators" and "lions" or "what is the lion."And when we mean all predatory animals by "what is the lion," we say, the picture. It is only necessary to
be clear from the context that is used instead of an extended limited. Keep in mind the wider, and use the expression, which means they sponding limited.It should lead us to advanced. We are in real life often use these imaginative shapes. For example, if I say, 'S. - Great music head "- then of course I do not mean only one head. I use only part of the body to refer to the entire S. C. Yet this is a more convex, turned to fantasy The methods bong, figuratively speaking that can be expressed in the words of prosaic: "C. - A great musician!"It will, of course, fiction. To some dry Pedan that can perhaps get away with literally anyone to attribute something that is said in this way. It may be the opposite: it is possible to use the wide-ranging to designate a limited, it happens when they want to express something singular particularly strong.Used this case we are dealing with a synecdoche.
There is, for example, a perfect image made Byron. He wanted to show that is a lady that has, to a certain extent, ha rakter Xanthippe.He said: «Sie blickt Gardinenpredigten» - «It has the form of sermons for the curtains."(That is, it is immediately evident that behind the curtain kami in the home, she is lecturing, scolding,
and
no
one
is
haunted.
-
Ed.).Here's
a
sample
usage
shirokoohvatyvayuschego for adoption."Teaching behind the curtains" are used here instead of describing what can be seen in his eyes. This is a synecdoche, by which we can express what lies in looking worst Xanthippe - swearing, cursing, noise. Here, therefore, is given instead of embracing the concept of a limited concept. But it also must be expressed in eurythmy. First of all, we give about simplest way of the image.In all cases, when you need to use a metaphor, you can do it,
stepping aside so or so (right or left). When the metaphor is expressed, it will flow into the mold. When you want to express eurythmy synecdoche, using widely embracing instead the notion of limited, then retreat back. If, on the contrary, is used instead of a limited shirokoohvatyvayuschego, then you step forward.This is a form. Thus, you will express "She look sermons for curtains" stepping back. When you instead of "predatory beasts ITATION" will put the "lions" that express the fact that stepped forward. You, therefore, understand that any movement back to the spatial relationship is in eurythmy climbing to a broader scope, and any movement forward is less widely encompassing concept. To you all this clearer, express in the following movements: «Zu Himmelsmaechten streb 'ich» - «I aspire to heavenly forces."Thus it is necessary to step back. To give you a better saw the difference, I mapped to this following: «In mein Kaemmerchen verschliess' ich mich» - «I'm locked up in his room."Now express your steps as in the first case you are aiming tact your widely covered, while in the second case - to a limited (back and forth).We have, therefore, the possibility of stepping forward and retreated back of the unit, to express a common internal sense of what we want to show. All this is particularly important for the performing arts in general. If we understand the meaning of the movement left and right, forward and back, then we will learn to walk on stage. In the opposite case, it may, for example, happen is for stage pronounce anything of the nature of prayer, and you you step forward that is a terrible thing - while padding tion is back in prayer for granted.If we want to learn something, that is, we want to call to mind some of the representation, then we must not retreat, but on the contrary, to come forward.
In ordinary conversation, we may not come forward or retreat, and we will do the movements to and fro, because a normal conversation, in this sense, consists of metaphors. I gave you some indication today that in the future, the application must be made to the eurythmy some finality, completeness and make it an art form.
Lecture tenth
Dornach, July 7, 1924 Forms obtained from human beings
My dear friends! Until now, when describing the eurythmy gestures, we proceeded from the language sounds zvukorechi. We must, however, clearly realize that everything which is able to be expressed in eurythmy gestures and which is, therefore, a revelation person (just as the word spoken by man, it is a revelation) that all this is inherent in the possibility of and movement of the human body shapes. We can, therefore, from now to take a different starting point: to take the essence of a person such as it is, and based on it, develop opportunities for movement and form, and see what kind of shape derived from the human body, and then try to come to that, as some forms take on the character of visible sounds. So, we will try today, based on human beings, find the forms that can be derived from it, and then go ahead and ask ourselves: what sounds can be thought of using these forms?
To do this, we need a number of eurythmists whom I ask to get on stage. Stand in a circle at equal distance from each other. 1. Raise your two hands up, palms open, fingers rastopyrte all. 2. Keep your right arm along the body, easy to rest against the left-hand side.
3. Both arms forward, his right to the left (one above the other). 14. Both arms along the body, the left slightly forward. 5. Place one foot forward, left hand grab the right elbow. {0}6.{/0} {1}
{/1} Easy to squeeze his left hand into a fist, enter it to his
forehead with the other hand outstretched, make such a gesture. 7. Both arms forward, left down, right up, palms facing each other. 8. Stand on your left leg, right hold a few raised, right hand straight up, left a few bent down. {0}9.{/0}{1}
{/1} Head straight forward down the right hand touch the chin,
left, leave to hang. 10. Reach your right hand the head, and then close the left larynx. 11. Become feet (toes) inside and cross your arms. 12. The left arm across his chest, right over his back (according to the left). Here are a number of gestures. Taken together, these gestures represent, in fact, the whole human being. We can say that all human being split into 12 elements, but it is all that is human existence NESS. One can imagine that one person does all these gestures, one after another. If you imagine it, you would see that due to the fact that the person doing all these gestures, his whole being is expressed particularly strongly.
Go through all the elements of the human being. Chnem on the fourth.
Since this element is represented by a human being, which is primarily a
reason, intellect.Capture is good in your soul. And now look at this gesture (I): in it, like the sun, pouring what can be called the element of excitement, it is an element, the source of which is cerned mainly in the chest.We can thus say that gesture IV - head, a gesture I - breast lift.
Now comes the gesture X. Then before you head is covered by the right hand and the left hand covers the larynx.We have before us an image of what is in the expression of the will of man (the word should be silent when a person stands up and is a depiction of the will). We have here all that is image of the will, which can turn into action.It is possible, Thus, say members of the body, will and action.
Thus, we have three members of the human nature that reason, the feeling will.
We then have such a gesture, which brings together all of that. See how it expresses the desire to reach equilibrium (VII). It seeks to achieve a balance between everything else. You can imagine present, and so that the hands are pointing up and down, and that is thanks to this balance.We can say that the entire balance is looking for a man as such. In other words, it is - a man who has found the balance of his three forces: the thinking
mind and will.I will outline the gesture as follows: in equilibrium people. Look for these signs as something quite considerably. We now turn to the other gestures. When thinking of the person you go to the person looking for balance, you have to them is what comes from thinking when something ponder. Why come in this case from the thinking? The solution.Thus gesture V is a solution, a thought which wants to turn into a reality. So, you have come to the gesture VI. In this gesture, you can discern something significant.Gesture IV depicts the idea that can be very smart, but that does not mean that it has to be realized, it does not even mean that it will go on, she comes to solutions.She's always could collapse under the influence of external circumstances. In a gesture of VI portrayed the struggle with external circumstances, the confrontation with the world of ideas.During the whole person should be subjected to processing these meetings, conversations, explaining to the world. Only then, in equilibrium, the procession on terrestrial way people will be able to perform the acts, but when he pre eliminate their disagreement with the world (revise its encounter with the world.) Now, from the mind go the other way. What happens before the train of thought? After all, we have to be brought to reason. Before we formed the idea is weighing assumptions that thought. So here we see the weighting assumptions
that thought.
How does it weigh? To answer this question, it is necessary to correctly understand the gesture II. How is it done?Imagine that you are coming out of a sense of inspiration (I), it is - a flaming voodushev tion - to the extent it is not in our society, but here at least it appears in the image.First, however, than I come from a gesture to calm weighting (III), on the way from the gesture I to III gesture must come reasonable sobering.Gesture II: sobering. We have been inspiring, concluded in the chest (I).Now podoy dem gesture to XII. This is not inspiring, or rather, it's inspiring, not passing along this line of weighing into the discussion: it goes into action, in the will. Here between the enthusiasm and the will is the motivation which makes a person act swarm of self,
motivation to act.When the man century inspired, he previously only burns.When then the case should but come to act, the first impulse is to appear, the motivation to act.So we have here (gesture XII) desire to act. Now come on. Let's see what comes next. There is already (gesture XI) the whole man is convinced that no matter what will make all the same thing.After all, it took almost Napoleonic pose. At the same time expressed his feet sustainability, because it is not like The remaining, but firmly, firmly.So are the admirals on ships. In general, I advise you, if you happen to walk on the deck of the ship, always go that way. Then you will not be so hard to swing, and you will not be so easily exposed to marine diseases no.This is not the only motivation - the ability to
perform an action.So, here we have the ability to perform an action.
Finally, in a gesture of X we have the deed. But we go further. What is happening in the world due to human actions? You see, the man is in the world. He looks at what has happened due to perfect their act. This is not the only thing to do. People have moved away from him, he can contemplate it. This is the event that fact.The event, which occurred over it, which arose due to his act. So, we IX gesture event. Now on to the gesture VIII. This gesture shows that the incident affected the event of the century man.He called the event and the event has impressed him, it was destiny. We can thus say that what happened was fate. Well, we now have a man in the circle of elements who are creating it. You see, a man can be represented in 12 elements and you can certainly nai ti such gestures that meet these 12 items. Now I need, however, another 7 eurythmists. Let's start from the middle: pull your hands - right up ahead, a left back, then you need both hands at the same time making a circular motion. You have to, however, is to do when all will receive instructions.
I have given you so that not only the first indication that a certain ill regulations, but also the associated movement.It is a gesture that we can use to express to the man.All the people manifests itself in it. Now the second: the left arm back, right forward. With his left hand you are doing a circular motion, the right remains calm. This second movement is an expression of all that in man there is a sense of
loving, loyal nature.So, loving, loyal nature. Now the third, right hand forward, left back. The right hand is doing Kru pulling motion.It is, thus, the exact opposite is preceded yuschemu.It is the opposite of loving devotional character entities. It's selfish nature.
Fourth - stretch your arms forward, cross the lower part of the arms. This - in the spiritual. It is thus possible to remain calm. It's all the things of a man is creative - creative ability. Now we come to the fifth element of the human being: you hold up your hands outstretched, fingers retract, then do cor pusom rakachivayas rapid movement from the waist down and up.This reflects etsya that property rights, which is aggressive. Fulfilling the sixth element, the left hand hold calmly bent inwards, right hand revolves around the left. You give it to understand what is not being actively aggressive and wise action. And now more recently. Bring hands to his forehead, one on the other hand, lower them, pick up again, down to the heart. Do this movement. This is expressed in everything that expresses a deep penetration, a deepening of the closed, we have here a sense of groove. We have thus established, the large and small circle. In the external, the pain shem, round 12 of gestures that express the position of the body shape.In the inner circle of seven gestures that express movement, with the exception of only one
gesture that expresses only the form, namely, the movement, which came to rest (the Moon). Look, what harmony is obtained when the inner circle makes motions and gestures depicts external form. Now, however, we go further. The Inner Circle makes their movements, and the external slowly moves from left to right in a circle, keeping the provisions adopted. During this time, the inner circle makes its movement. You see, is obtained entirely a position as if the person gazed peace on all sides, led to the movement of all its properties. And now again become in the outer circle and take your position (shape). I draw your attention to the fact that in eurythmy everything going from left to right is thought the opposite (that is, it is conceived from the point of view of the viewer), and everything going right to left, too, thought the opposite. The outer circle moves from left to right at a moderate rate, domestic, making their movement, movement zhetsya a circle with a greater speed than external.Internal dance that Thus in a circle rather than external.Well, now making the gesture. See how everything is in harmony! This expresses the desire for possible ABILITY.If we take into account the whole person, we will be here for the first extraction element possibilities of movement and form of the human of the body.We shall see how these features and forms of motion gradually develop from this item. The person in fact - there was not just one of those forces which are known teperesh her science.He, however, arose from the entire world as a whole, and we can understand it but only if you know it is actually coming from the entire universe.And if we do a good look closely to what we see here in front of you in this image, we realize that this man is dissected into different abilities, the members of his being and strength. But even there, outside, in the world, the individual units are parts of the human being. There we have animals. But in man locat dyatsya all the properties
of the most important animals.Properties of animals in human smooth out were.They are combined in it as if in a higher synthesis. Here we are, first of all, we see four main animals (see diagram). Leo is inspiring, the item chest.A one-way characteristic of a lion is that you have the appropriate gesture (I). Next - Taurus (X), is the element that sided externally realized that he himself izbyvaet external action and will.
Here (VII) then you have something that tends to process all over his forehead century of experience, behavior.Image that was shown to you. This is something that unites all the individual parts, just as the etheric body covers a member of the physical body. In the past, air su exists also called "water creature."Here it would be necessary, proper but write "ethereal man."He was called Aquarius.It is about the value of an antique, so I can safely write Aquarius.You now know that this ethereal man. Then we have what has the appeal of intelligence that gives the impression of (IV).Here in the transmission from generation to generation was allowed greatest mistake. In fact, here it is for all that is associated with the depths of the parent organization.So I actually had to write the "Eagle". However, the relatively more recent exchange time was mixing with Scorpio Eagle.So here (see fig.) Must represent yourself Eagle.At present it, however, called the Scorpion.This is not to say that the reason was regarded as something that stings.
Well, before you, so that the main property of the person. Everything else lies therebetween. Because it does not pass that enthusiasm hour to act.Between them is another. Here (XII) is enticing set.Motivation makes us move from inspiration to the Act. It forces us to go outside of ourselves and embodied in the sensations of the chest. In the ancient language of physiological chest las called
"Cancer".That's why I can not write here "Cancer".In ancient zoology to cancers attributed not only to our present cancers, but all those animals in which highly developed chest. Initially, these were cancers. Everything that has a strongly developed chest, called cancer. If we then go on to act, we will have decent fluctuate (schweifen), leaning in one direction and then the other, would have to do to move the two halves of the body, the left and right-hand man, who should be the same (to connect, communicate, approach each other).Here we see the properties of animals, in relation to which the animals must be constantly synthesized Rui lead in tune left and right half of his body.Some animals forced to do so especially when running:
Gemini. I say we go out to the act, and the act of an event (Ereignis).And if we will seek passage of the act to the event, in the animal kingdom to find that perfect symbol in the shape of the animals, which have curved horns ryh: Aries.So, here goes act in the event. I would have to say very much, if I wanted to give it a full justification. Then we come to the moment when the man is completely spreads Vaeth in the outside world when he goes to the outside world, when what he is doing, it becomes destiny.Then the person is living in a completely moral element as well as fish live in water. As the fish are merged in the water with the water and almost become one with it, so the man lives with his moral destiny in the outside world. So:
Pisces (VIII).
I have already told you that inspiration should gradually move to contribute Coyne thought when sobered up flaming enthusiasm.Schiysya cooling element that has not yet caught fire, is present in the animal kingdom, called in ancient times, a Virgin (II). And then comes the sobering calm weighing, balancing calm: Balance (III).Those animals that are over all deliberate, whether called in ancient times Libra. And now we go from IV to VII, from the Scorpion (or Eagle) to Aquarius, the etheric man.First in our lives intent - a decision when thought tries to go outside into the world. We point out, incidentally, that those insects which are anxiously running around, rapidly worn like some forest animals nym that because of some nervousness ever worn in ancient times was called "Archers". This is not what was represented by that later: this is a beast NESS.So,
Sagittarius (V).Now only in some dialects preserved the name "Archer" for those little insects that are so worn in the kitchens. Well, now for a clarification of the relations. Then, before you come to that unites all human, we come to the Capricorn, and through it come to that which corresponds to fate. So, here it is necessary to write "Capricorn".Thus, as we can see, the whole range of people covered by the zodiac. All these, however, only as a human being, and human qualities are expressed through gestures, again, when administered to rest. In the inner circle, we now have an expression of the whole person - the sun, then we go to a loving, loyal nature - Venus, to a more selfish nature - Mercury, a creative productive essence - the moon.Then we have the aggressive nature -
Mars.Next is the radiant essence of wisdom - Jupiter.Finally we have something that goes into melancholy, the internal closed-confidence, self-control, in-depth -
Saturn.
Going from the outer circle to expressing human activities inside rennemu circle, we make the transition from the gestures that are at rest, to gestures that are in motion.If we want to have the whole picture, we can combine the two terms, as I have just yet Hall, namely bringing the two circles in motion.Then in the outer circle the floor chitsya that is the whole human being, the union of all the qualities of the animal characters. In the teaching of the color (Farbenlehre) produce such an experience: on the circle divided into sectors, impose all seven colors (red, orange, yellow, green, blue, indigo, violet and so on), and then lead into a circle-rotational movement and twirl all faster and faster, until all the colors do not merge into a gray color.Physicists say that's white. But White is not here, there is se ry.None of the paint alone does not distinguish between visible only gray. If there ladies and moved with such speed that some gestures could not be discerned, and it would be seen only Bind gestures, you would open something extremely interesting, namely the image of the human being, expressing their identity through their shape. Here in the inner circle in front of you all that there is in human affairs when going outside, which expresses itself in the planetary, all that depicts the internal capabilities of, and the beast fasting gradually translated into a human.Thus, in the outer circle all SUs ri - in the form of a man, and in the inner circle - embrace the animal in man using semiritsy. Now you need to add more to the above as follows: A, E, I, O, U, El, AU - seven vowels.If we then take the consonants in the corresponding dance with their inner nature, and join those that are known from the sound to the extent monotonously, you will get 12 consonants.So now we have 12 consonants and 7 vowels. If we then put in the zodiacal circle ITATION consent, and in terms of reflecting the dance of the planets (domestic) vowels, then we get 19 of sonic possibilities.Sky says, every
time a planet is locat ditsya between the two signs of the zodiac, is a vowel between two consonants.Sky says with constellations, planets formed. It says in very different ways. And then, it gives - that being human ka.It is not surprising, therefore, that human gestures and movement capabilities expressed cosmic. As a result of all the above, we can imagine that in evrit mission we update what was the temple dances of the ancient Mysteries.Dancing was an imitation round dance stars, imitating the fact that after the Gods from heaven said the man.
To do this, in our time, it is only necessary to find a new element of the spiritual knowledge of the real inner meaning of the relevant gestures. So, now we have 19 sign, 12 of them at rest, and 7 to dvizhnyh.Of the latter, only one gesture is at rest, because peace is the opposite of movement (between us, the moon is in motion, is equal to zero). We, therefore, met with gesture E, and showed how these gestures are introduced into sound, sound.We now have taken the starting point of human and walked the other way. Before we started with sounds and gestures searched based on the sounds, and today we started on the possibility of movement and were on the way to a man, apparently the language to sound stone.
Lecture Eleven
Dopnah, July 8, 1924 Getting used to the gestures and forms
My dear friends! Today we'll some of the difficulties arising in the performance of eurythmy, difficulty, which must occur if the work does not come from the deepest inner essence movements and forms.Difficulties arise, for example, transition During some consonants and the other on the other hand, some other vowels.From the
indications made by me yesterday, you know that for the spiritual in a speech the most important is that it is between sounds.This is exactly the same as that observed in music: real music, real spiritual element in music is what stands between sound kami.The sounds are something physical, to a certain degree of material nym, and that goes from one to another sound of music is spiritual. Similarly, in a speech: the spiritual is where the transition from sound to sound.If I, therefore, am aware that in all material is spiritual, but on the other hand, realize that the sound is a natural material nym designation, then I can easily see that the spiritual must lie in the transition from one sound to another. Yesterday we met with spiritual significance, spiritual essence, hiding behind some gestures and movements. Something with which we cognition komilis yesterday, will now try to combine with what we have learned as a eurythmy design sounds. To do this, we will do the following. Eurythmists those who portrayed the zodiacal circle yesterday, I'll ask one more time to get on stage and be in the same position they occupied yesterday. Now, ask those who belonged to the planets. You already took out of the spiritual, which figures out shown in a Zodiac.Now I ask myself * note the following. The figures of the zodiac we will provide the relevant consonants: Aries - W, Taurus - R. This semivowel - vowels, consonants are perceived as; W akin U, R akin to A.
Gemini - H Cancer - V (or it could be F) Sagittarius - G Capricorn - L
Aquarius - M Fish - N Leo - F (Tao) Virgo - In Libra - From Scorpio - J.
It is essential that you have learned this correspondence with sounds. Now middle - planets:
Sun - AU Venus - A Mercury - / Moon - El Mars - E Jupiter - About Saturn - U
And now I ask you to do the following: Try to take your yester Rashnu position or make the appropriate movement, gesture, which you did yesterday, and now move on to the sound, which I mentioned to you today.And from the sound go back to the gesture. You see, therefore, that the appropriate sound gesture (prior to a sound or following it) can be understood as the same gesture transition from one sound to another. You must, of course, see to it that lies between the sounds was not too long. Today we will focus on the fact that the floor can ourselves of our existing
constellation.Each of you knows their sound. Now I'll read a little poem, and ask you to pay attention to how the sounds follow each other and make their sound when it will be pronounced. Thus, the entire poem is a consequence of the 12 plus 7, and we'll see how you can evritmizirovat poem based on a constellation. You do first original gesture or the original motion. In them you are staying. And now we are slowly starting to. Thus, only those of you, to which this sound, making it the basis of its motion tion, and returned again to his movement.But you should, of course, about to reveal "sensitive sniffer" because the poem arises from a complex sounds: Edel sei der Mensch, Hilfreich und gut! Denn das allein Unterschiedet ihn Von allen Wesen, Die wir kennen. Heil den unbekannten Hoehern Wesen, Die wir ahnen! Ihnen gleiche der Mensch; Sein Beispiel lehr 'uns Jene glauben.
Let it be a noble man, Coming to the rescue and kind, Because it is the only Distinguishes it Of all beings,
That we know of. Glory unknown High entities We chuem! Let them be like a man. Its (their) example let us teach Believe in them.
I will say a poem, and you'll make gestures, movements that made yesterday in a circle. And, moving with their gestures, movements in a circle, you will depict the appropriate sounds when they are vstre be to the text and relate to you.You will see that it will come out even more beautiful. Denn unfuehlend Ist die Natur: Es leuchtet sie Sonne Ueber Boes' und Gute, Und dem Verbrecher Gldnzen, wie dem Bester, Der Mond und die Sterne. Wind und Stroeme, Donner und Hagel Rauschen ihren Weg Und ergreifen, Vorueber eilend, Einen um den andern. Auch so das Glueck Tappt unter die Menge,
Fasst bald des Knaben Lockige Unschuld, Bald auch den kahlen Schuldigen Scheitel.
Because unfeeling Is nature, The sun is shining And the evil and the good, And the criminal Shine as the best of people The moon and the stars. Wind River and Thunder and hail Noise, going his own way, And grab, Hurrying past, One or the other. Also, happiness Breaks into the crowd, Enough that boy Curly and innocent, That bald head sinner.
Now, if only you will be treated with attention to these exercises, you will see that it is due to the fact that we draw from this, the circular motion of the real and
of a spiritual gesture that due to this certain sounds occur against the background that their entire inspires. What I'm telling you, it is extremely important, especially for those who have (to some extent) are able evritmizirovat and reached a level that enables them to do about the fact that, for example, was introduced in "The Sorcerer's Apprentice" .Then we have a sufficient accurate measure, finished, completed execution.When you reach a Eurhythmy about this degree of skill, then the next problem is to do a lot of exercises in the direction that we are still hour stupa.For, thanks to the fact that you practice in these you yesterday gestures, movements and transitions of these gestures, movements in individual sounds, you will gain more and, at the same time, the flexibility in the formation of sounds. Look how beautiful it is when the "Capricorn" is framed as a sound! Let your sounds come from your gestures, and then return back to the gesture, then you get the gesture, framing the letter. In other words, the sound is put eurythmy right when it around (I say this purpose the word "about") grows out of the gesture, and may again impact the gate to the gesture.Necessary, of course, that this movement was made possible in fluent. Extremely many you win, not only for the performance (which I still will not say), but also in terms of training, if all the above will perform a solo Eurhythmy or in duets, trios, etc. Then the task will consist of the following. Take a Capricorn, if it has one, and he will be told that he must express some poem in consonants, vowels are dropping, it must then leaving his place and finding the shortest path in the zodiac circle, the place where the relevant consonant, and there to do it. In the transition from one to the other, he should do just that gesture, which corresponds to the following sound. These things are important, mainly because they do eurythmy thanks gradually transformed into a man, because these gestures by structed based on the nature of man.Thus, we get the opportunity to build a form
of impact (eurythmy forms of poetry), so that there was not only the internal law of each individual artist, but also determined the ratio of one artist to another (if more than one) or to space. Well, today we are still, of course, be able to play anything besides the fact that you yourself received, in addition to the sound that you have been given. We allowed ourselves, however, does not stand up facing the audience, and his face to the center, so you can see who is doing the appropriate place consonant. And then the one who did this to consonant (we'll leave the vowels), moves to the place of the next consonant and makes him meet his own movement. See how well it outputs CIO. Twelve standing in the outer circle is now being followed closely behind them its sounds.The first person to receive a sound, does it. Then, you (whoever motion zhetsya), make sure the following consonant and move towards the region, which this consonant.That, in turn, also monitors and is doing it in front of you. And then you face to face with him doing this, too, agree. You see what you get is a very beautiful movement. In the future, however, it is necessary to do so without anyone standing in front of you. It is necessary to do so, as if this place had a vision in front of you and you would see these movements in this vision. I read it very slowly brief little poem, and you execute those.Others remain standing, all this will do Fraulein C: Ach, ihr Goetter! grosse Goetter! (C R is the case that R - as B.) In dem weiter Himmel droben! Gaebet ihr uns auf der Erde Festen Sinn und guten Mut: O, wir Hessen euch, ihr Guten,
Euren weiten Himmel droben!
Oh! You are Gods! Great Gods! In the distant sky overhead! Give us the world Solid intelligence and fortitude. Oh, we left you, good gods, Your deep sky up there!
Here you have there is an understanding that the forms that you make can not be arbitrary, which they, on the contrary, it is extremely reasonable, and, moreover, do not generally trivial sense. So, if in any poem meet the expression «Bauch» (abdomen), then do not do this form, it would not serve our purpose.Our task is that of speech itself (in this case, therefore, of the form itself) lies with the sounds and gestures in spiritual, which we reviewed yesterday, to form these shapes. Look how beautiful it is out, if we now take more and vowels. Do now (other evritmist) is the same, and the other will do in the realm of the vowels. You know where the appropriate sounds to which you should go: Ach, ihr Goetter! grosse Goetter! In between, do not make any movements, remain standing, if there is no vowel. It turns out very beautiful picture when directly tively to each other are two of the same vowel sound, and at the appropriate place remain at rest: Ach, ihr Goetter! grosse Goetter! Gaebet ihr uns auf der Erde. This is a powerful tool for exercise. This is evident from the fact that where you're staying on the vowel, you should stop once vatsya, when the vowels are repeated.
That, however, is a good experience, we should feel the fact that he lives in the language. For this I would like the first three lines are not proretsi ented not recite, and prointonirovat in two ways, so that you could see that it is in the language and that evritmist should certainly feel it, because otherwise will not work that must to express.
ai n e n e c e ie ei eieoe de ai i and e ee Just think that the feeling is completely different look when we are in the words «der Erde» three "e", as opposed to when the voice tion follows a vowel.Is that you feel particularly strong when you do these exercises. ._ But in the consonant sounds is the same thing, and that's the beauty of the poem is based. In fact, it is impossible to acquire speech, if you do not prepare the poem as follows: first sound vowels and the consonants fall by half, and then - half drop vowels and consonant sounds. Previous set yourself what the character is obtained when you have the following:
ch hr g tt r gr ss g tt r s dmwtnh mm l dr bn gbt hr nsfdr rd fst ns nn nd gtnmt So you felt the vowels and, after them, the consonants. This evritmist, in fact, must exercise, then it becomes flexible, then his body becomes what it should be. You truly feel the need to respect the known (Achtung) to eurythmy, if you evritmizirovat.This respect should be a conviction (Gesinnung).If you really properly imitate all the movements that make your throat when she pronounces a more or less complex sentence, you have to learn a lot. All that you have learned in your pre-earthly existence. When the larynx is in what she imitates the sounds that are
heard in the outside world, then it would only be a slight repetition in the earthly existence of what you learned in the pre-earthly existence. But this kind of teaching that takes place in the spiritual, it's not intellectually, it is that vyte follows from the senses.Therefore, thanks to the exercises that you do now, acquired the right feeling. There is no need now to depict dance of the planets. To do this, take 12 +7, that is, 19 people, and the people who have come Eurhythmy cal performances, say, perhaps, that can lead exercise only with 7 showing because of a greater number they can not afford.And how do we do in this case? We need to understand that our job is not to immediately proceed to the image of the circle dance, but the fact that so imbued with all that last two hours you informed about the transition from gesture to gesture in the spirit of the sound so that your body has become pliable, flexible. This will help you become imbued with the sense of the tone of Kim, which is necessary for eurythmy. In this course, we do not just want to repeat, but glance over all the things that can contribute to the promotion of eurythmy. On the way of eurythmy is, however, that (I think it happens quite often), that people understand it, do not think they still need to learn. There exist even some people who are viewing the two or three weeks, as the product are found eurythmy movement, and then want to do school teacher.Think how it would be unheard of if the same claims are made in music or painting! The question is how to learn to understand that eurythmy is something that makes all the means of expression of impact possibilities inherent in the human body.And this can be achieved only when performed well and such exercises, which are then not apply to performances, but contribute to the acquisition of the relevant ing flexibility.Just think, just as is done in other arts. Of course, you all know the famous Liszt piano without strings, but with a keyboard. Vero yatno, it was used, and other composers.On this Piano
Sheet exercised Xia constantly.It has always been with him. These exercises he did, of course, is not to create music, and to develop in the body mobility. Neighbors do not stop. Thus, when the exercises were done this The methods bong, then all was well.No need to disturb your neighbors at night, and at such a piano because you can play all night and not to disturb anyone. Before it is scheduled only for the development of mobility in the body. What we have now passed over the two hours is, in fact, the basis for eurythmy, in the sense that it gives the body eV rhythmic setting and mobility.Now back a few back and go through the more recent lines of the poem: «Festen Sinn und guten Mut» Solid intelligence and good spirit. In these words lies a number of facts that we perceive: «Und gu (on and we have to stop) - ten (return to its original location) Mut», - is finding itself (SichHineinfinden) in a move that we feel like the natural movement when moving from one vowel to another, or as a natural when two identical vowels follow each other, or when repeated the same vowel.This is what causes the true sense. Oh, wir Hessen euch, ihr Guten Oh, we left you, good gods, Euren droben!
weiten
Himmel Your deep sky up there!
We pointed out in this way, the ability to feel, and in accordance ITATION vowels in their relation to each other.However, I would certainly need to emphasize be emphasized that the place does not matter.I could, for example, that this lady, who with their sound D was here ("Lion"), put here. Others have taken to such places respectively, then ... After all, when the circle starting naet move all change their positions.Thus, the absolute position is not matter relative importance place, ie as a stand relative to each other.From this you can conclude how many opportunities there children of various forms of education.These forms of
education opportunities vyte cabins from the fact that in a certain place is beginning, for example, that at some point we begin a poem with the F and get the basic (original) point for the formation of the appropriate forms, and then know which direction we should go for other forms of education. You should now be clear that, in fact, what we learned yesterday and today, is getting used to the gesture and form.
Lecture Twelve
Dornach, July 9, 1924 Arising due to the outpouring of the soul in the form and movement of healing effects and their impact on the whole person
My dear friends! By having our material we add now that opened in the basics eurythmy, and discuss some of the issues that you have already been partially met. And then establish a connection between what is familiar to you, and that what we are talking about. The first thing I want to discuss the fact that we have seen: as some like to say, the moral impulses that we are among the 12-and-7 and depicted in front of your heart, these impulses were expressed in a gesture (in a gesture to quiet location and in a gesture of moving) and in eurythmy movement can be perfectly achieved enlightenment from the fact that the human soul responds (urteilt), worrying - because this is the whole point - or, also, that the human soul experiences, responding (urteilt), and that then translates into sound. And just the opposite effect on the whole person has that of the human soul is poured into a mold and set in motion. And in this lies the healing effect of
eurythmy. This influence can manifest itself in the moral and spiritual, as well as, of course, and in the psycho-physical terms. Moral and spiritual healing effect is especially strong in the case where the eurythmy exercises conducted during childhood. From this point of view, based on the fact that the shapes and movements arise from the mental attitudes and a warehouse and have the opposite effect on the soul, I want to discuss once again some of the things with which we have met before, so you can get a more cohesive picture and then move in the coming days eurythmy word further. Because you are familiar with the exercise, which combines one person to another (his neighbor), that is, the so-called exercise "I and Thou." In this exercise, you get four of them, but taking into account the spectators in A, it is necessary to couple standing back turned, not really, one however, is strong.Test out this exercise as follows: "Me and You, You and Me, Me and You, You and I - that's us." It turns out this "we". Thus, the exercise ends with the union of a circle - "We". Facing each other diagonally considered "and" You. " When they are approaching are to each other, then express it, they want to connect with each other and that others want to be associated with them.In the diagonal reflects the transition from "I" to "you", from "you" to "I". This can be repeated several times, and then contact all together, aware: it is - "We." If this exercise should be repeated, then the "You and I", "You and I" can go back to their original location. The further challenge will be to do the same exercise in different ways, based on the sentiments that we saw the other day. You, Miss B., can you imagine that you - "Eagle", and you, Frau Art., "Aquarius", you are Miss C - "Taurus", and you, Miss N., - 'Lion' . Make the appropriate gestures. Based on these gestures and, having done all, go back to him again.
Please note that this is expressed Through this exercise we can see that the person encompasses all four of these beasts in the form of four moral qualities, and in the consciousness of his own "I" it contains, strictly speaking, the whole of humanity, but a person has at the same time "we". Now, with this initial gesture begin exercise. Then you Gratsi ozno past the initial gesture.Here you will be able to apply the decree of which just received. Thus, it is correct, complete exercise: "exodus tion gesture," Me and You "," You and I "," Me and You "," You and I "," this is - we ", the original gesture."You are so right start - an introduction and conclusion correct, so all in all enclosed in a frame. This exercise can be perfectly applied in eurythmy for pedagogical purposes. Thus, if de children there is jealousy or ambition - this is such properties that must be corrected in childhood - it is necessary to give them to perform these exercises especially hard.And then we get the following. Arts education does not allow because, needless to say, there are no tricks to torye could be called magical, because all the magic lo proved to be in the education of inspiring effect.It would impact on a child's unconscious. And this can only be done with respect to the weak-minded, handicapped children, and it is allowed to do only as applied but inferior to children.Until then, however, until the abnormal singularity child mental properties are certainly necessary, mouth ranyaya what else magical suggestion, have at it purely emotional impact.As it turns out, when four children forced selling lyvat this exercise?They hear all the time, as saying: "I" and "Thou." With this in mind the child enters an element belonging to each other, community, mutual relationship with each other. It comes to consciousness of the child in the words: "This is - we".And in a gesture that at that is, (hold hands), expressed that the child's attention is directed to the prois he who walks with and have an emotional impact.In all this there is the slightest suggestion. And yet, we can say that in this movement laid a means to counteract false envy and ambition. This can only be
applied to healthy children. We must give them to do this exercise with the knowledge that there is no suggestion and no magic. You may ask, however: what to do with the pathology of children? When pathology
gies,
we
often
have
to
reckon
with
a
vague,
low-
consciousness.Therefore, if children show these pathological features, you have to remember that this exercise can be used with success. But they can not be used in children if consciousness is pathologically instituted. All, however, that relates to healing, can be used only on medical prescription because wherever manifest pathological features, a judge can only be a doctor. Let us turn to another tantseobraznomu movement, the source of which is a certain emotional mood. We have called this movement "Peace nym dance» (Friedenstanz).In combination with another dance this "peace" dance shows how a particular shade of mental attitudes crystallize. Suppose that you form a triangle. You can form it so that it will be as follows:
Let us assume that some people will go on a triangle in this direction (see Fig.).Or there may be three, the first of which will go on this way, on the second, the third on this. If you then take a shape of a triangle and compare with the first one, you'll see the difference.
The first triangle of the front line differs from the other two of its length tion, second, it is characterized in that it is shorter than the other two.If the second case we do the same movement as the first, the other will experience.
In the first case we experience the world, second - the impression of energy. It can thus be said that in one case we are dealing with the peaceful dance, and in the other - with a vigorous dance (Energietanz). The essential thing here is that it is selling lyvaetsya eurythmy movement in the rhythm.And if we ask the question: "How should we implement this movement?"- We must remember what I told you. In lowering the rhythm (
)
We have something commanding, administrative, and an up beat (
)
Desiring something, achieve something. However, as a prelude to a peaceful mood and join the energetic mood is in both cases, something that is associated with the desire for something that, of course, can not find the application of, say, the military command.I have in mind here is nothing wrong with that, as it could be, perhaps, appear, but that the military komandova tion could also consist in the fact that teach children to obey using known movements.However, all related to the orders, loca Costumed can not be expressed in the presence of spirits.Here it comes a rising theme, rhythm anapest. Now I'll ask Miss C do we exercise in the first triangle as I described it. Suppose you are going on a triangle anapest, and I at the same time saying (first triangle)
Strebe nach Frieden, Lebe in Frieden, Liebe den Frieden.
Strive for peace Live in the world, Love the world. Do this so that the long side lying in front of the audience and the case lived ascent.So you have to start from here (1). Once you go back (facing the audience), because we have to make sure that the audience as a Whether you.For your hearing unpleasant that I have read the words anapest not built, but it does not matter, through the rhythm you need to enter in the analysis pestle, although he was not in the words spoken by me.Then, in the language of Eurythmy is a direct expression of the fact that the rhythm of the speech can not be completely expressed, because, for example, in the German language there are no words that would mean «Frieden» (world) and would end with the syllable accented with it.Thus, again: Strebe nach Frieden ... Do anapest movement clearly. In the words spoken by me dactyl rhythm, but you have yet to do the movements anapest, it is not the same as speech, but still we do the dance to the rhythm of this anapest, undeterred speech. We ought to find the text, built anapest because otherwise likely yes will be disharmony, which, of course, unpleasant hearing. Now do the next triangle. Anapaests here to do a triangle with short base. Begin again with the first triangle ka.Try to note the shape of a triangle that the long lines at the side will pass quickly, and on the front lines - slow anapes volume.So this is what is called a "vigorous" dance.
Movement of these may be, however, and have done a bunch of people. Take the first three. Let them stand up and draw a triangle "peace that Finally, "each one line.You can, of course, read some text anapaestic. You can in fact, however, to do all this in another way: standing on the corners form a triangle having the same shape, but a small measure of time, in other corners of the triangle are made the same.So, this exercise can be done in many different ways, and each way will possess give its beauty.Best of all, if the movement will those who stood at the point (1). Each in a separate small triangle does the same thing as before performed all over the stage, all at the same time move along its eigenvalues form.Now, all standing in a triangle back, that is, which I have put in the corners, doing a second movement, "I and Thou" - exercise. Standing just a middle of the turn. Triangles you formed so otherwise. Those who now form a square, slipped vayut again this "peace dance" where they stand.This movement is selling lyvaetsya thrice.If you've done really cleverly, it forms a coherent exercise. This exercise is good to use for teaching, as well as for medical and educational purposes. Can participate and fewer groups. You can do the same with two or three groups, and you can carry it with them in this way:
Particularly well done this exercise with the class in which many of choleric children that are difficult to control. Let them do it every day, or how much will be learned Eurhythmy for two to three weeks, and you will achieve success is to deal
with them. Thus, all the children who are fighting, noise and so on, should be forced to Do this exercise and you will see that it will have on them is extremely calming effect. Now we can play the "energetic" dance. Then you need Dimo make a triangle, but sharper.Now, again, do the movements three times the triangle. At the corners are four ladies (see figure). These ladies do the following exercise: they begin to move with U, «Du und Ich», now in «Ich» they are in the center.
He did not make a gesture as if «Du», a gesture, instead showing when they stand together, they occupy an attacking each other's position.Woz then from the gates of «Ich» to «Du» and do this three times.And here you have taken the position from which we will go further. First of all, make a motion, the opposite «Ich-und-Du», ie, «Du-und-Ich».«Du und Ich, Ich und Du, Du und Ich, Ich und Du, Du und Ich, Ich und Du». Now you're standing at the back. Now take another way: go crosswise past each other (four external switch places). Do this exercise towards the center «Du und Ich, Ich und Du ... streiten heftig miteinander, streiten heftig miteinander!(Furiously arguing with each other). " And now again three times on the initial exercise in the triangle (see Figure). Repeat one more time exercise: exercise three times in a triangle, then the exercise of divergence, then again in the triangle. To you, however, it was clear that these exercises can be even more diversity zit, do so now: the first exercise in the triangle, then the second in a triangle, and
the third, then - look at all the challenges in the triangle, as in fighting with each other.Do so the motion «Du und Ich, Ich und Du ...Streiten heftig miteinander! », All as there are there, then get up and do the exercise triangle in a triangle.
Can certainly be found a poem of three stanzas, constructed so that the shapes of these exercises can be done. I would like to add the following: anything that you've seen in recent times, of course you can use for teacher educators and health-cal purposes.All this has a very beneficial effect on the phlegm tical, sleepy children.It awakens them, they become internally quickened lennee. Today I would like to quote only what is created more out of shape. A shape is then possible to feel that it entered. Mrs. W., try to make a spiral, going from the inside to the outside.
You have done quite right. Your first impulse was: put your hands on the heart, and you have completed the movement, with his hands behind his back. If you are at see to that movement, you will find that it is a good expression for the output
of the human soul itself, to awake interest in the world of the soul, eventually leading to the fact that a man totally given to the world, and this is expressed zakidyvaniem hands back.Selling LITE this exercise again, keeping in mind that understanding.You see, this is exactly the first quest in itself, and then the awakening of attention of the world, the return to the world.Now, going back to do the spiral - from outside to inside, though, in the first half of the movement keep your hands Tym let down the back, and in the second half - the position of the heart, you see - this is the opposite to the first, it is - the closure in itself, it is - going from the outside world . The first exercise can be applied to medical teaching purposes not to anemic, and a full-blooded children. It is a means of struggle with selfishness. The second the same applies to the healing of children anemic.
Lecture Thirteen
Dornach, July 10, 1924 The mood of the soul, which can be found in a gesture of sound
My dear friends! We continue to build those forms, which we discussed yesterday. Here I would like, first of all, to discuss the forms that are used for installation tion known relation to dialogue speech.Yesterday I talked about the fact spirals, and we saw one spiral - directing outwards - causes Vaeth feeling of stepping outside of man, and the other - a sense of human rights in the care of yourself.These two spiral can, however, combine to form. Make them, say, walking anapest, and him go so that complete one spiral after another. Try it. Miss C, make a spiral that goes from the inside out, and you, Miss B., make one that goes inside, and now reverse. We put six anapests. It will come true.
If we have, however, coherent speech, say, in some Dramaten Český work, any conversation - questions and answers - well then do a spiral, going from the inside out and the appropriate response.Instead of the last two anapests to do just two long strides, while stepping as hard as if we wanted to get a lengthened nenny or raised voice.You do that by four anapest, two strong colors. You will receive, so a shape corresponding to the dialogue in the drama or no dialogue, expressed eurythmy. However, this exercise can play a significant role in the treatment and pedagogically. Mr. yester I said that you can use one coil for unruly children, for pranksters, loose, bullies, and another - for children phlegmatic that sluggish taken for the cause. If you give this exercise in both groups of children separately, then the floor Chita some favorable results.If you divide the children into holerich TION and phlegmatic and will force both groups to make the spirals together in such a way that they stared into each other's eyes, then they will have on each other corrective influence.So, using this corrects the influence, you can do this exercise is particularly effective. On the basis of these podosnov we used a number of quite specific eurythmy movements. Mrs. K., do us a form that depicts «Hallelujah (Hallelujah)."It can be made of ultra first Nochka in the form of a pentagram.You get on at the far points of the pentagram and use for movement, depicting the «Hallelujah» tion of one side of the pentagram.Would start with N, go to A, then do seven times L, go to E, making the second time L three times, and then - U, I, A. And during this exercise, you are going down the line, then go through the same on the second line.So, if you are one, then you need to do this exercise five times.
And now we take five people and everyone will do the same exercises set.Then get «Hallelujah».Mrs. K. is on the first line, Miss S. - on the next one, Frau S. - on the third, Mrs. S. on next and Miss B. - at last. Start all at once. You must properly calculate that, having done all, to return to his seat. Thus, you get out of the pentagram have a complex financial guru.If it is good to practice this exercise, it takes emergency but a majestic view and you really can not express the whole character of «Hallelujah». There is, however, an opportunity to feel the same otherwise. The first is here (see picture), the second here, and then the third, fourth, fifth, in addition, has the sixth and seventh. All move in the direction of the arrow.
One gets the impression with the other. Standing in front of performers should always be so that standing behind them in the middle, in order to be able to see everything. Well, now try this: first to second, second to third, third to the fourth, the fourth to the fifth, the fifth to the sixth, seventh to the sixth and seventh (behind the arc) to the first. All simultaneously. As you can see, at a slow pace, "Hallelujah" is especially sublime character. You can still add a variation: each returning to his seat, makes it even further this movement (arc). It should be you too embarked simultaneously. Both of these movements must be connected to the same gestures. The result is a need to give a
"Hallelujah" is somewhat more rapid cadence. This exercise can be developed and the distance above. Do it, put this: take Miss S. and S. Frau, others are in the form of a pentagram. Frau S. (A) makes the "sun", as we did yesterday, and Miss S. (B) makes quiet "gesture moon." Both of them make a gesture, while others are moving pentagram. It turns out the form ~ "Hallelujah" with a certain intonation. If we then move on to the second exercise (no arcs), we have the floor chitsya very majestic "Hallelujah."And then, moving from the first to the second of motion, enter into it, as before, the Sun and the Moon. And then you can go to the latest require a more rapid pace of."Hallelujah" can be expressed in various ways. You can get a form of expression that will have on the viewer a very serious impact. Let's try, "Hallelujah." As you can see, you have to find the possibilities of the form, reaching down to the individual relationship to the subject. Now we will try to express in the same way «Evoe». Mrs. F., you can do the same: when you take a step E, as V - stretch one hand and keep the other as if you want something to touch: the O - hands close to your body and yourself is rectified, with E - steps back.If you've done this, you will get the necessary form of expression. Now look at what effect the exercise, if it's all done together. Doing this form way, you can approach each other so closely that kasnetsya each other's hands (at
V).The more people take part in this exercise, so it will be more beautiful. Here are sample forms Retrieving mental attitude in the gestures of sound, forms that are obtained due to the fact that we go to the mood associated with gestures, while maintaining the character of eurythmy. It is from these gestures obtained from the states of mind, just as a gesture of Eurythmy get the sound, you can see how to pass perfectly adequate mental attitude.Miss C, we do the following given to: Dr. B. takes place on the stage, fr.C.
looking at him, becomes Xia to the left toe and makes a gesture S. I think that there can be no doubt - she mocks him.Playful irony is expressed as if by itself, if all this is doing eurythmy correctly. Suppose now that Miss S. wants to take the next gesture she first wants to express an ironic perception, and then use the internal her will more actively express playfulness.Then what she had done, should come first, and only then, having fallen from the toe to the floor and keeping the gesture S, it has to mow the eyes and chin.So take the first and second: the irony and then a fun playfulness. Here you have an adequate gesture certainly one that we of finding something.The example shows you that. I wanted to show you this example of how things felt real. In eurythmy only reach the proper point, when they want to represent the artistic eurythmy when they have every opportunity to the motion of a - a gesture of the vowel, consonant, or other movement indicated by us - feel like as you need, no matter how necessary, we feel it is somewhat risky move or gesture.Just this gesture will teach you to penetrate deep into things. Now I'd like you to once again show how to use the form. Remember how yesterday, several people were standing at the top of the stage, singing "Dance of Peace", which were interwoven "I and Thou." Remember how the others were grouped into four groups of three. I ask these people to rise up again and line up the same way. We proceed as following.Instead of having to go through this form of silence, as of yesterday, today we will conduct this first form - the form of a triangle - three times while reading the verses, such as the following: Es keimen der Seele Wuensche (nascent desire of the soul). Then the second stanza and the second movement, and the third verse of the third movement.Then we come to the place where yesterday began «Ich und Du».This «Ich und Du» should not be today «Ich und Du», but instead must also go
stanza, in which you take what we have done in the form of a "tan sample the world."Thus, Es keimen der Seele Wuensche, nascent desire in my heart, Es wachsen des Willens Taten, Grow volitional acts Es reifen des Lebens Fruechte ripen the fruit of life. Ich fuehle mein Schicksal, I feel my fate (approaching) Mein Schicksal findet mich.
My fate is me (backing
away) Ich fuehle meinen Stern, I feel its star, (approached) Mein Stern findet mich.
My star finds me
(stepped) Ich fuehle meine Ziele, I feel your goals, (approached) Meine Ziele finden mich.
My goals are me
(retreating) Meine Seele und die Welt My soul and world Sind eines nur.
The essence of just
one. (Put your hands crosswise) Now go to the last three stanzas of the "peace dance":
Das Leben, es wird heller um mich, life becomes brighter around me, Das Leben, es wird schwerer fuer mich, Life is getting harder for me Das Leben, es wird reicher in mir.
Life becomes
richer in me.
As you can see, you get so connected whole, which includes not only the scheme to exercise «Ich und Du», etc., which, however, is also not a dry form, but
the whole building is in stanzas although not perfect, shows that these forms can be used razhnenie We do this pack again.Now, you have to be more clear, you will see that it is fully balanced form, and what is contained in these verses. However, for this example, I have shown you that between eurythmy and ordinary language there is a true deep inner connection. I tried - it was, of course, pale attempt that was just to give an example - I was trying to answer the question of how some of the Mysteries, which in fact certainly practiced the art of movement that we want to resume Eurhythmy how, in some ryh places Mysteries arose poetry?There was not a first language, not a form of poetic work, no - it was the first oschu schenie, pledged in what was then a man, there was a sense of movement, gesture and form.And the form of a gesture displays a form of a poem. Thus, eurythmy form of movement and gesture preceded the formation of the poem. This is what, in fact, points to the inner connection between the earth and do eurhythmy language.Evritmist should have known sen stvom, which he will tell you that you can not actually evritmizirovat each milking poem.You see, from the poems that are all there and there, 99% is not quite art. In the best case, is 1%. The history of literature is not swollen would be if she had to deal only with the fact that this is poetry .. Real poetry is constantly soaking up a eurythmy and folded so that those who engaged in poetic creativity to produce first in his etheric body eurythmy appropriate movements and gestures, as if their physical body lo existence only to translate the language of sounds eurythmy laws and eurythmy movement.Only in this way may present a poem. This process should not, of course, be reflected in the minds of intelligent nom.One can thus say that currently su exist poets who dance in his etheric body before a poetic form.And in the old days were poets such as Schiller in his poems are really beautiful (I am not referring to those works of Schiller's poems, which also
must be discarded, and the ones that BU \ YAYUTSYA this poetic creativity).Goethe, for example, in most of his works is such that they are being felt eurythmy gestures. So, there are a number of poets, about which you can say is that they made it there unconsciously. It is essentially unconscious. By the nature and type of the action that this poem has on the body, evritmist should feel, whether it be a poem full of eurythmy or not. In other words, it shows that pony May I as a poet evritmista or not?Is there a poet is what I want to express in the form or not? When you feel so, then you install some swarm internal relation to the poem, which you want evritmizirovat. Do not, of course, to bring the matter to the extreme. On the basis of anthroposophy should never be a fanatic, you can not go to extremes. One can not, for example, require that evritmizirovalis only mystery-verse creations or those that are modeled on mysteriological art.But at the same time, one can not resist the temptation to portray eurythmy, say, a poem Vildenbruha, is not it? All these are things to torye evritmist must surely feel, otherwise it will not penetrate truly the essence of eurythmy. From the above you can understand this deep inner relationship between eurythmy and speech. Now I would like to ask Miss S. proevrit minimize the following: Mein Freund, kannst du es nicht lassen, Mir das Traurige immer wieder In die Seele zu rufen?
My friend, can not you stop Calling all over the sad images Before my soul?
Do this by using a simple wave-like motion. Saying, "My friend, do not you ... "Start up the pace significantly so that it is clear that after the word« lassen »(to stop, to leave) the rate of acceleration ren.And the whole second half, perform significantly accelerated pace. Do it again. Now do the opposite, evritmpziruya the following sentence: Was seh 'ich? Es ist der Morgensonne Glanz! What do I see? This - the morning sun shine! After the "I" that you have done at a fast pace, try the essential but slow it down.We have thus transition from slow to rapidly mu rate in the first example and the transition from slow to fast - in the second. If, as in the first example of something expressing the will, the desire to remove anything, expressed a desire, "I do not want it to all be invoked again in front of my spiritual vision", then it is necessary to make the transition from slow to fast tempo . If, however, in the words expressed that some external event had a impact on someone, so that there was a need to focus their attention on something, if so, how in the second sentence, it comes to perception, then it is necessary to move from the accelerated the rate of slow.
Do you feel that these two transitions rate appears again that, on the one hand, in a sense, can be called "making the will in motion" and, on the other "making sense of perception or in motion." And if you want to express some movement poem, then you need to examine it in order to understand whether the poem is a char ter will, the confrontation with something deviation of something from him, or, on the contrary, self-giving, reverence, awe.
Lecture Fourteen
Dornach, July 11, 1924. Articulation of words. Internal division of the stanzas
Moi dear friends! TO clarify
THE internal structure of the currently spoken speech, we have to
divide it into words, so divide, it follows from thinking - on the subject, supplement, etc., and in the same way we have to pay attention to it and eurythmy image.It goes without saying that this is necessary to avoid any kind of pedantry, and teaching evrit mission, we have to develop, should not degenerate as in the present rently degenerates teaching of grammar in schools.Evritmist dollars wives, however, relate consciously to the way he portrays every single word, every single noun, as they are given in the various aspects of thought are in a holistic context veniya revelation of the human being in question.Thus, while we must first make a distinction between words that express the quality of a thing, and those words that express action. Words that express the properties of things, we express our eurythmy that detain his move to the point where you need to open some property, and make a gesture to the dispute Coyne position, that is, do it by being alone.In contrast, when we express the state of mind, which in ordinary speech is transmitted "word in Time" - a verb, you should make a gesture in motion. That is, the gesture made by a person in motion, depicts a verb, that is the word for the movement. Now, however, also: what is expressed "word in Time" - scrap verbs can be divided into, in terms of passive and active form or expressing continuing (longterm) activity.Instant activity sequences or instant passive state, persisting figure values and lasting passive state - accordingly may differ eurythmy verbs of motion
in the image ...Passive activity, passive attitude we express the fact that making a gesture, we stand forward, but not backward. Any kind of activity we are expressed eat that step back.All that is an ongoing activity or ongoing long-term passive, we express the fact that we do it by going to the right or to the left, as if passing on the go. We have the opportunity to really make a verb in this way is an expression that actually causes the viewer experience that this verb is. Let's try what I said to apply to the image of a little poem in which he tried to express these three forms of internal relations, as indicated by a verb.Let's go verbs, we conclude in this little poem: Konnt 'schlafen nicht. Could not sleep. Sleep is action, long, at least, in healthy people. We need, therefore, to express the action of the ongoing internal. Konnt 'traeumen nicht. I could not dream. At the word «traeumen (dream)" can ask ourselves - if evritmizirovanii poem should always make training - "dreaming" refers, of course, is also something going on, but at the same time, and on light passive (Erleiden). We are trying, so the passing of a link with the performance ahead. This means that we are not straight forward, and pass obliquely, that is, in some ways go diagonally there.So you express the word «traeumen (dream)."Then further goes like this: Konnt 'schlafen nicht, I could not sleep. Konnt 'traeumen nicht, I could not dream, Da hoert 'ich drauss' Then I heard the outside Wie das Eis zerbricht. How to break the ice.
«Hoert (heard)" is a verb again."Heard" - this is from distinctly passive, passive attitude-performance forward."How to break the ice" - here you can ponder: what does it say relative but the ice?You can ask yourself the question: what is it? Passive or long-term condition? Let us feel good if we have a word, we come to what we have in this case to deal with a prolonged state of expressing, however, some activity, something active, because that circumstance in that breaks the ice, is an occasion to what we hear.It is, therefore, opposed to mere passive attitude. It's not even something aggressive towards us. We say "zerbricht (broken)," this crack of breaking the ice there is something going on.We express this by saying that back down diagonally backward. Then there is one line without a verb. Used it only auxiliary Chapter goal (war), on which we will not stop. 'S war, als ob aus der Ferne, It was exactly what it is (something) from a distance Ob es sich nahete, was approaching, Wehete, lueftete, breathed, muzzle, Und in den Lueften es And whiff Atmete, dueftete, breathe, fragrant. «Nahete, wehete, lueftete» - all are expressions of the ongoing relationship in which, however, is partially or activities.We, therefore, express «wehete, lueftete» diagonally stepping back (sm.shemu), «und den Lueften es» - there is no verb, «atmete, dueftete» - the same way. as in «wehete, lufetete».If in doing so we must step back, then step back further and further (see diagram). Ueber die Felder her through the field, Talherab, berghinaf: Down in the valley, up the mountains. Wenn das der Fruehling waer But what if it's spring In vollem Lauf?!
In full swing!
Now do the entire poem with the notation of verbs that I have. Konnt 'schlafen nicht, Konnt 'traeumen nicht, Da hoert 'ich drauss Wie das Eis zerbricht, 'S war als ob aus der Ferne, Ob es sich nahete, Wehete, lueftete, Und in den Lueften es Almete, dueftete. Ueber die Felder her, Talherab, berghinauft Wenn das der Fruehling waer In vollem Lauf?!
Could not sleep I could not dream (nap) Then I heard How to break the ice on the outside. It was just something from afar As if approached, Breathed, the muzzle And a whiff Breathing, fragrant. Through the fields, Down in the valley, up to the mountains, But what if it's spring in full swing!
Now let us turn to the designation of nouns. Here we first of all have those nouns that have an impression on the senses in everyday life are called concrete objects. Concrete and abstract - this is not it, something very uncertain tion, depending on the spiritual make-up man.Hegel, for example, arguing against the usual understanding of the word "concrete" and "abstract", said: "The Laundress something very abstract, and wisdom - something very specific." After all, it really is, if anyone feels its domestic stared Institute wisdom in all its concreteness, and may it be as a way to feel completely abstract being a laundress. For a person to whom wisdom of velocity is something concrete, "laundress" is an something that really only consider that this can only imagine that after all has no reality.A person living in wisdom - action flax, but the laundress - has no reality. Therefore it is better to say: things that produce sensory impressions tion, indicated by the words that we express the angular movements going back.Thus, all things sensual - angular motion tion, going backwards.
On the contrary, the fact that in real life is called abstract, that is something that has no impression on the senses, and is experienced in the shower, for example, the wisdom, the power of thought, genius, imagination and a great number of the like - all of this is expressed rounded movements ( arcs) with a performance ahead.
So, we can say: "spiritually contemplative." In this case, we doubly thus described what can be expressed noun (in the earlier guidance, Dr. Steiner has shown the movements that have de lat, when expressed in the words of the spiritual and essential, for example.God, Zeus, Dionysus, and so on. In these cases, it is necessary to make rounded back). Nouns can also be something that means a state, for example, knowledge, beauty, size and so on.The states are accepted in this case for the items. We express their movements opposed to those that are obvious to sense objects. We do this in a corner, moving forward.
Now there is something that expresses pure soul remaining in the shower. Then we rounded the movement do little more complicated way.
What remains in the shower. We get the opportunity to express this is that a sincere, such as desire, suffering, compassion, blah gozhelatelnost and so on.Thus, we have to say: if the aid soup corner, going forward, we express condition manifested by these external objects.And all that is held subject to the soul, we denote by a wavy line. The above methods you get a movement that, in the end, of course cause a modulation in the viewer the feeling that he will suffer those internal grounds that it is in certain sound combinations give rise to certain states of the soul, the state of sensory objects, etc.
In eurythmy is no need to pay attention to all the parts of speech. So, for example, hardly need to reckon with what is called the pronoun mi.For Eurhythmy they are adjectives and should therefore be expressed with gestures that are made by standing still.The names of the numerals must also do as adjectives. From the viewpoint Eurhythmy these include not only as to any property. On the contrary, a special significance for eurythmy images are between Dometius, such as "ah" or oh ".They give the opportunity to make known to the eurythmy of the beauty and grace. All interjection expressing the fact that the case etsya or inclination of the body, or a graceful leap, or a light pryzhochek. Regarding the jump, I must once again draw attention to the fact that it must be done by jumping on the toe, and then put your foot on the heel. Each jump, made by the whole foot, it is something unhealthy. It should be noted especially myself. Due to this fact should again be noted that it is necessary to pay a lot of attention (and it was not done sufficiently, despite the fact that we have always strongly emphasized) the fact that the jump or small pryzhochek was made not only as the toe and even after you get the whole foot. Here we come to the section, my dear friends, who probably will be challenged with a materialistic point of view. This section, however, is ex-tremely important for Eurythmy and, moreover, in all its ways - for pedal gogiki, art and eurythmy therapy.The case concerns the fact that all the movements of which are made in relation to these three areas of need is accompanied by what is called grace.And if eurythmy eurythmy movement or teaching somewhere, at least in the corner, not hunkering grace (I mean, of course, "lurk" spiritually), such a motion or teaching can not be considered legitimate. It is necessary that we had such a feeling: every evritmizirovanie as a pedagogical and in artistic ways, should be such that Grace could not be ashamed to be present at it and look at it.
And from this it follows that with every kind of awkward to fight for eurythmy images in the most energetic manner. The most are more uncomfortable, however, jumps on the whole foot. Jumping to do, as mentioned above, on the toe. In pedagogical eurythmy grace leads to the all-round development of children. And the teacher Eurhythmy us should pay attention to the fact that it was designed to achieve the children of wealth spiritual experiences. All the artwork in the Eurythmy is such that gains access to the beauty only through grace. In the curative education - this is hard to believe, but it is definitely true - this is the case, that should grace by at necks as if only to listen, eavesdrop, without even being visible.It should at least listen because everything in eurythmy therapy is not done gracefully, causes stiffness of the etheric body, that is not what is obtained, which usually want to achieve. Miss C, do something for us eurythmy with a graceful inclination of the body. You can do the movements perfectly in line with their sensations tions.And do while also graceful leap, say, in the third line, when I read it, try to do at the first line of clever, brilliantly thought-out slopes. I'm going to read you three lines, you proevritmiziruyte them in relation shenii vowels and do with the movements of which I spoke. «Der Hund macht wau-wau!» The dog does wow, wow! Try to get a slope that would transmit "wow, wow" «Die Katze macht miau-miau!» The cat does meow, meow! And now, on the third line you do three graceful leap, the third jump will be accompanied by a graceful inclination of the body: «Der Hahn macht kikeriki!» Monkey doodle-do! These are interjections.
Then, there are prepositions (Verhaeltnisswoerter - words expressing of use).We must, of course, to know these things, we must understand that these words (before logging) express the relationships between things, such as: aus (from), ausser (except), bei (y), entgegen (front), mit (s) nach (after), naechst (wake), nebst (together), von (from), zu (k).All these relative words, prepositions, which, as of voryat, manage dative - always stands behind them dative pas Dej, the so-called third case, but there are other prepositions.All prepositions express the fact that the body and the head tilted to the side. But here it is necessary to make a distinction. For those of prepositions, which are required dative, the body should be easily tilted forward and to the side (diagonally if) the right and left.At the same time, with the prepositions governing the accusative case, the case should be perfectly straight tilt to the left or to the right. When the logs before requiring a genitive, slightly tilt the body back and to the side. These differences need to do when prepositions. Suppose we want to express prepositions in the next little poem. I'll Lane N. Frey express prepositions appropriately when I name them: «Was mag es bedeuten?» What could this mean? This is a question we had a spiral question that in this case you can apply. Was mag es bedeuten? Mein Herz pocht so geschwind, Die Glocken sie laeuten
Im Morgenwind (Tilt forward direction)
What does this mean?
My heart is beating so fast The bells are ringing
In the morning wind. (Tilt forward direction) So excuse is expressed, and when you move your head along the axis of the body, it is an expression for the unions, that is, the words that are used to connect: and, but, etc. Also today, I wanted to let you know how evritmizirovat stihotvo rhenium according to their own form should in fact that our course was as complete as possible, and then have to add another explanation as evritmizirovat respectively own form of a poem.And here I am, first of all, I'll show you how you should handle the stanza, when both the form and the internal division of their constantly repeated. Suppose we have a stanza of four lines. This stanza of four lines we can construct the following:
There are, of course, and other construction. I'm not saying that everyone is building F of four lines should be built that way, but it can be constructed so. Here we are primarily evritmista which is here (I). He de barks out this form ...In it, he tries to express the first row. Second evritmist here is (II) and makes this form ...He's trying to get used to this form th and express it in second place.He's trying to learn his second stro Coy and at the same time the string is pronounced,
it is assimilated with the movement.Third evritmist is here (III) and then how to pronounce his line, mastering this movement (forward).Fourth evritmist does during the fourth line is the motion (in the foreground). Next, we see that the rhyme in the poem are arranged so that rhyme with the first and third rows, and then the second and fourth. This we express the fact that, by making the first line, we stop at a gesture I. Just have to do with the gesture and the one I evritmist, which makes the third row.Making the second line remains navlivaetsya in a gesture of U, then so does the fourth. I wish to point out to you only on the principle of eurythmy forms, based on the shape of the poem. And now stand four. By course you can take a look at what is drawn on the board.You remember it immediately. And I'm going to read you a poem that meets this form. You will be clear how to build a form.In this case, of course you need to understand that it is impossible to form shapes with various punditry or quirks of thoughts or feelings, and the formation of the forms you need primo Cach closely to what really is in the text, taking into account that all that has been said by me. First of all, you'll do just the form, but when you play around properly, you should try to make these forms and also the fact that today I spoke on grammar. It may also be logged in shape. It should not, however, think that when we do move forward, we must do ten steps. You only mention this in advance and it will even extremely beautiful, if this advance will only be scheduled. I have a burden so at first only one difficulty - SDE lat only the form, leaving aside all the grammatical features of the poems of creation.Then, although it is relatively difficult, but with appropriate yn razhnenii it is possible to specify and also all that grammar that we have discussed today.The poem reads:
Scheiden Was mag es bedeuted?
Mein Herz pocht so geschwind, Die Glocken, sie laeuten In Morgenwind.
Was mag es bedeutea? Mein Herz ist wund: Die Glocken, sie lauten Die Abschiedsstund.
Die Glocken, sie klagen, Mein Herz tut mir weh, Die Stund hat geschlagen: Ade! Ade!
Die Stund hat geschlagen, Das Herz klopft so sehr, Ich sitz in die Wagen Komm nimmer mehr!
Parting What could this mean? My heart is beating so fast Bells are ringing At the morning wind.
What could this mean? In my heart wound
Bells are ringing Hour of separation.
Bells complain My heart hurts, The hour had struck. Goodbye... Goodbye...
The hour had struck, My heart beats so hard I'm sitting in the wagon, Do not ever come back! So, that's how it is necessary to construct a poem. Tomorrow, we will discuss Dim the construction of a few more details.Today, I would like to say following.Evritmist must strive constantly prompting a determined divided mental attitude and become susceptible to feeling a sense of fulfillment and expressive gestures.And here it may be that in order to enter into this subtle feeling through meditation concerning the mysteries of the human organization. This can be achieved if you are with full penetration, strong domestic prochuvstvovaniem that lies in these words, to meditate, but to that on which you meditate, it would be simple words or abstract concepts, and that is in you really happened that lies in these words. This way you will achieve what exactly what I'm talking about. Ich suche im Innern Der schaffenden Kraefte Wirken, Der schaffenden Maechte Leben. Es sagt mir Der Erde Schweremacht
Durch meiner Fuesse Wort, Es sagt mir Der Luefte Formgewalt urch meiner Haende Singen, Es sagt mir Des Himmels Lichteskraft Durch meines Hauptes Sinnen, ie die Welt im Menschen Spricht, singt, sinnt. I'm looking for inside Creative forces action Creative forces of life. I said Earth's gravity power Through my feet word I said Forms of air power Singing my hands, I said Heavenly light force In the thoughts of my head, As the world of man Speaks, sings, thinks. If you have done this meditation, you will find that you can say about myself: You just woke up in the sky Eurythmy from the world of sleep. And always, just like waking up, you go from night to day, just be you, arousing in itself is the mood to go and eurythmy.
Lecture Fifteen
Dornach, July 12 1924 The whole body should be the soul in eurythmy performance
My dear friends! Today, it will be necessary to complete this course. And it goes without saying that it could be identified only some significant areas, ka Eurythmy saving HIV.Much remains undiscussed. It remains for the next cycle. It seemed to me that instead of giving encyclopedic overview of the entire Eurhythmy better develop some basic directions arising from the substance itself eurythmy. The problem lies in the fact that it is this inner creativity eurythmy gesture strengthened more and more in each evritmiste, so more and more growing real understanding of eurythmy. Today I would like to discuss as a kind of add-two sounds: G (Russian [g]), and
W (Russian [a]).The letter G is not in our modern guage or, say, in the language used in the Europe of the importance that it once had in the old days.It is therefore, to a greater or lesser degree, and fell out of our discussions. G, where the sound is produced, showing the internal self-reinforcing (Sich-Befestigen), strengthening both in terms of mental strength, so mainly in respect of all that is natural (natural) firming spread varies in person.It is, therefore, a sound that encompasses some human being, but a human being who, as it were internally filled with nature.That is the G. Maybe we will do Fraulein V. G, so that we can also see how much the gesture
G has the ability to transmit internal reinforcement.Thus, the removal of all external and internal organization of the whole gives a gesture G.
And now we come to the amazing sound of the sound of W. W - this is the sound, which in ancient languages and, in particular, in the languages of the eastern Hsia rarely meets.This is a sound that becomes a necessity of the human soul, when she was not used to have a hard shell (shelter), but on the contrary, feels the need to wander and instead settled home, which can to some extent feel the sound in, instead of lasting shelter wants to have a tent or what -or any other wood or other protective outer cover.Sound denoting extending to some extent mobile shell manifests itself in W. Because when W is always naturally have the feeling that something you carry on yourself, just some all updated protection (cover).And all that roams where the creature is on the move - all of this is felt in the sound ke W. Eager stream - it is actually something that is a strongly pronounced W. Quiet splashing water something that shows weak W. I drew so your attention to the fact that you need to have a sense of W. It is also remarkable that when one way or another would be forced into paying attention to this well-known, say the sound of W, then it is always in an entirely naturally tends to repeat the sound.Man exists sen himself compelled to mention W, use it again.Similarly, to say something prevents: «es wallet (boils)," I want to say: «es wallet und woget (worried)», «es weht und windet (blowing and blowing)», «es wirkt und webt (weaves and spins) "and so forth.In short, no matter what the sound is not as naturally flow into the alliteration, like when they say W. Alliteration can happen when using other sounds, but for any other sound alliteration does not feel as natural as the sound of W. Maybe we will do a Miss S. W. sound you can see, it is the need for a gesture that made the move.It is, therefore, something which results in movement of the human being. Make us without expressing even more alliteration - we will do it later - only allite radio W, just moving around, so that at all times acted W. As said,
the alliteration is created and when other sounds, but note how little touches you alliteration of other sounds, compared with alliteration W. So: Alas! The ruling God, The bitter fate coming. I wandered Summers and winters Sixty out of the country Where I picked up
Wehe nun, Waltender Gott, Wehgeschir naht Ich wallete Der Sommer und Winter Sechzig ausser Landes, Wo man mich immer scharte There appears another alliteration: In die Schar der Schuetzen, Doch vor keiner Burg Man den Tod mir brachte In the crowd of shooters But not before some strength I did not bring death. Next is a very strong alliteration, but in the sound of M. You will feel it too, do not so much feel like the alliteration in the sound of W. Nun soll mein eigenes Kind And now my own child
Mich mit dem Schwerte hauen, hit me with a sword, Morden mich mit der Mordaxt! Oder soll ich zum Moerder werden?
Battle ax to kill me! Or I'll have to make a
killer? You feel that all alliteration acts as a matter of course when the alliterative W. And she always acts as something recovering from W even where the acts different sound. As a form of poetic alliteration, of course, justified in its very origins, justified where there is the most vivid sense of sound W. And we need to feel ambiguous.First, that alliteration, expressed panying the initial letters of the rhyme, is the need to travel back to ancient European times.Jordan Wilhelm (Wilhelm Jordan) attempted to restore Xia alliteration, and he was able to use it with a certain inner conviction.At present, however, she felt in the north-German dialect as something not quite natural. But if there is little ability to be transported to the old days, it will still have its effect. That little excerpt that I have about person is taken from a song Hildebrand.Hildebrand, who was a long time away from home, met on the way back to his son, Hadubranda, and entered into an argument with him. And that is a related argument, expressed in that in those days vividly feel, alliterative form. We can express eurythmy alliteration that put evritmistov in a circle, and as alliteration, if not all, then essentially related to the W, or, at least, with the consonants, we propose to allocate alliteration to make her accent so evritmistam that go in a circle.Since alliteration in the main is not to vowel sounds, we will offer to represent vowels to those who will be inside the circle. Let us now try to portray eurythmy alliteration read by my passage. Stand in a circle. For the image of vowels, three persons are becoming Xia middle of the circle.
Alliteration is to be expressed in that at least the appearance of a new alliterative sound, it expresses the next person, and the preceding present reiterates its previous sound.Vowels immediately following consonant alliteration, do those who stand in a circle. Others voice ITATION accompanying, do those who are in the center.Try to clear quite slow shutter speed to do the read me, moving on the outer circle. Allitiriruyuschy consonant and immediately following vowel goes around from one to another. You see, therefore, that alliteration brings movement and creates a kind of isolation (Geschlossenheit), unity and integrity. Well, now, here are some things that can make our own organization essentially serve as eurythmy. Here it is necessary, first of all, to learn to really feel the difference of which are for eurythmy standing still and walking. Standing always shows that we have something to reflect that we are the image of something.Boating also shows that we ourselves want to be something.So, if you are preparing for any poem evrit mizirovaniya, you must first get a feel for what is more important to point out something or vividly portray the essence of something.In line with this it turns out, it is necessary to go to standing or vice versa, to walking.Standing is used to a lesser extent than walking because poetry as typical vividly express what something is (what it is, not what something means something).It is therefore important to know how important the general human some body in connection with the universe being.Person's feet represent Earth Liu, because fully adapted to the Earth.Thus, if found anywhere weight, the severity of the Earth (Erdenschwere) - Earth's gravity and is found in almost all passive, experiencing a man - then the problem will be how to develop eurythmy mainly by special grace of feet and legs. Hands and arms signify peace. Spiritual because the most important of what is expressed in eurythmy. Therefore Eurhythmy must lead the movement of arms and
hands. Then to turn to the spiritual. However spirit still be especially pronounced in the transition from one sound to another. In the speech, for example, the spiritual is expressed in irony, sarcasm, in all that comes from the human "spirit» («Spirit»), that a man gives to himself precisely because of the fact that he - the spirit (Geist), he is witty ( geistreich) in the best sense of the word.All this should be expressed by the head, because the head is for the spirit of something very significant. It should be perfectly aware of all this, and then get a proper picture. It is particularly important that the head was used to perfection with his organization in various ways. Miss C, turn-ka your head to the right. Turning the head of eg can always express the "I want", of course, these two words, and all what is the concept of "I want". Now turn your head to the left, "I feel." Thus, in all cases where the poem want to express, "I feel," head turned out to left. Tilt your head to the right. When you tilt your head so, then this means that chaet: "I do not want" (to the right, face forward).Tilt it to the left as: "I do not feel like I do not understand something, I do not feel I do not feel anything." Now put your head up and tilt it. This gesture you will be able to feel and understand that it means the when do the following: Frau S., stand in front of Miss C, and it will be in profile and will make such a gesture. Now imagine that Frau S. says, "The gods will to invest in the human heart." And Miss S. responds to this eurythmy The methods bong: "You're too smart, I do not understand you."At these words, you are making this gesture, but clearly. In various combinations, it is very common, countless times. It means that people just settle in itself due to the fact that he could not understand anything. Then I would like to mention the following: of the 12 and gestures that we have made in connection with the signs of the zodiac and 7 and gestures, which
were due to the circular motion of the planets, we can take the necessary gestures and use them to conduct other . For example, you can specify that instead of what we did yesterday in the final rhyme, you can do this and then it will be felt: Miss B. makes the sign of Leo, and Frau S. - the sign of Aquarius.Now try proevritmizirovat one small STI hotvorenie, which I am about to say.When hard-sounding rhymes, that is, those that result in high sound, make the sign of Leo, and with weak rhymes that slide, do not have high-end sound and low sound, make the sign of Aquarius. Evritmiziruyte standing in one place, and if you want, by vowel sounds, and in the end make this gesture, so we can see what effect it has in connection with the rhyme. Es rauschet das Baechlein ueber Gestein Ein Weidenbaum drueber gebogen, Drauf sitzt des Muellers Bueblein klein, Im Schosse ein kleines Zitherlein, Die Fuesschen bespuelt von den Wogen. Es kommt ein Mann des Wegs zu gehn, Er bleibt so still so schweigsam stehn, Sieht zu dem sinnigen Knabea: «Hatt 'auch einmal ein Bueblein klein, War auch so still und auch so fein; Das liegt nun draussen, begrabea »
Babbling brook on the pebbles, Willow leaned over him, On it sits a small little boy miller On lap small zither, Foot is washed by waves.
This road takes one person Quietly, he stops, stands silently, Looks at the clever boy. I was also a little boy, He was also the same in the same quiet and gentle Now lies buried there. Y ou see, therefore, that the sign of the zodiac can be learned rhymes.I draw your attention to the ton. you can also enjoy the varied and these gestures, and you will feel like you are in a growing confidence in the development of eurythmy gestures. Then you can not take an arbitrary gesture, but you have to look for it adequately in the structure of the verse. Now I would like to make a few evritmistov different kinds of gestures.Take the following: the first is, with your feet together and your hands about pulling horizontally to the sides. The second is a few feet apart and keep your hands where they are located approximately at the height of the larynx. Third spreads her legs a few more in the hand and raises his arms so that their connecting line passed under the heart. Fourth puts legs even wider, more broadly, holding his hands high above his head (from the hands to the feet to walk a straight vertical line). The fifth leg raises, about how a third, and raises his hands so that the line joining them, passed over his head. This line passes through the larynx, at first completely horizontal but, at the fourth high over his head, while the fifth is just in your head.Memorize all these gestures. Sixth keep both feet together, arms stretched perpendicular to the top. Now mind you these gestures at the following:
1. Ich denke die Rede I Think it 2. Ich rede I say 3. Ich habe geredet I said, 14. Ich suche mich im Geiste I'm looking for myself in the spirit of (Meinen geistigen Ursprung) (My spiritual source) 5. Ich fuehle mich in mir I feel myself {0}6.{/0} {1}
{/1} Ich bin auf dem I'm geistigen Wege on the spiritual path
7. Ich bin auf dem Weg On the Road zum Geiste (zu mir) Spirit (to himself)
Now, about that. Now try to move on from one Annex to the other.Miss B., become by turns in front of each of the evritmiziruyuschih and try to feel a desire to express that. I say that you make a gesture that evritmiziruyuschey that stands before you.So, first of all, you are the very first:
"I think it» (Ich denke die Rede) Turning then to the next and stopping in front of her: Ich rede Ich habe geredet Ich suche mich im Geiste Ich fuehle mich in mir Ich bin auf dem Geistwege.
Here, these are the gestures alone. If eurythmy teach adults and begin with, give them to do these exercises, they are very well get used to eurythmy. Also, if you do these exercises one after the other several times, then it belongs to the most harmonizing the soul and healing eurythmy gestures. If people are so inherently unscrewed in his heart that this is reflected in the body - in a variety of diseases of metabolism, these gestures are, in all cases excellent healing eurythmy exercise. In conclusion, I would like my dear friends, that you mentally noted that only then can you really well Eurhythmy lized, when there is a strong will to start evritmizirovat only after a thorough analysis of what is supposed to fulfill.So, take some poem and pay attention primarily on what chapters ITATION sounds are in this poem.If this will find that in
THIS
poem, which should express admiration of the
poet, there is a lot of sounds And then you can say to yourself, this poem is wellsuited for evritmizirovaniya because the sound of A expresses admiration.The poet himself felt that for the expression of feelings of admiration special importance belongs to the sound of A. And in eurythmy gesture emphasis should be placed on it to identify precisely the sound A. When evritmizirovanii more important to raise your soul, audio content, because the semantic content - is in fact prose.And more than any poem has the property to influence their semantic content, the less it is a poem. And, conversely, the more some poem affects their sound content, the more likely it is a poem.And the more impressive poem and operates its audio content, the more it really is poetry. Therefore evritmist should not come from the prosaic content, but must, on the contrary, to go into the content of the sound. Need to say to yourself: if the poem there is a large amount of A, then it must be evritmizirovat as a poem, imbued with a sense of admiration, emerald tion.All of this points to the need for us
to always pay attention to the fact that it is associated with the language. And then the poem must seek out those related to language features, which I pointed out. Thus, it is necessary to determine whether there is anything specific in a poem or something abstract, where it is, or has any other relationship. I want, therefore, to say that we must first go through wholly stihotvo renie and, moreover, according to how it is built it, and even after his evritmizirovat. When evritmizirovanii you should first of all try to express this in figures of the movement, feeling and character.This is what evritmist should pay attention to. The movement should feel like going on the basis of color and gesture. The movement depicted. The movement should be done as evritmist. But when you are shrouded shlyaerom (shlyaer - fine for opens, used to emphasize the spatial eurythmy movement.. - Ed.), And also (and especially) if they do not we wrapped, we have to imagine how the aura that expressed in shlyaere (during this lecture Rudolf Steiner uses as an illustration of figures carved from wood.. - Ed.).And only when we think it will provide, we will achieve the necessary grace. Look, for example, L (eurythmy figure).Imagine it and you will see that it itself is already in motion. Everything else that he can give in the form of sensitivity Islands, feelings - all of this is that the aura around the hands is in the form: here is wider at the top, then narrowed, hangs down.Imagine that your hands express your feeling, expressing the fact that something like this auric like hanging with you, as a smooth dress to the bottom of several to expand.Such feeling must have. We must feel as evritmist dressed and breezed in this way. And special importance is the character. It would be really stretching out his hands experience is a kind of feeling that the muscles are tense.In all the places where the character is designated a special color, it would have strained muscles. Here it should be, of course,
DO.So,
for example, there would have to put their feet
so as to feel the muscle tension, and this is exactly where it came from (the color) is drawn. Poe tomu-to these figures and are configured. When you first learn the individual sounds, the experience so much go down in your organization, that when working on a poem you through the entire poem will be felt: this is, for example, set up at the sound of L, or the sound of B. And then, based on the sound, you'll be able to evritmizirovat entire poem. It is without a doubt something that you should pay special attention when you ask a people to teach eurythmy. In pedagogical eurythmy goal is, of course, is to do with the body eurythmy things that would impact on the soul and propelled her forward in the moral, cognitive terms and in respect of feelings. In the art of eurythmy need to shower as she eV ritmiziruet, it has learned to live in the body.Thus, these movements, these gestures have to be completely natural. We have to have the feeling that when it comes to this artistic motif of artistic content, that no other sign can not be done for the art may perform this content. Should certainly pay attention to the fact that the study evrit mission actually due to the fact that the human body becomes different.And every image in Eurythmy is imperfect, if the person is still struggling with something that is still in his body "body" and does not become a soul. When eurythmy image the entire body should be the soul. This, you see, and is the biggest difference that must feel when, say, any group evritmistov by a lot of it developed the program proceeds to its image.You can not Narada vatsya as it all fresh, even if the soul has to contend with the form.If the hand is not moving, but only as a rush and appear even to the soul with something heavy, as if they were falling to the ground instead of move away, or if they are cut, rather than "to push, or just hang out. All this is so fresh, and you feel the joy when I go on a trip eshsya.
And the trip covers a dozen cities. This is perhaps not yet happened, but it could have been. And in all of the two dozen cities deployment Vaeth all the same program.And then evritmisty return. They demonstrated, so its program two dozen times.And those now suppose as Mrs. Steiner could not immediately work out a new program we are, what in fact is quite natural, then this program is that six weeks ago was still fresh in the child's condition, placed here again, after the two had played a dozen times .Here again is the heart rejoices, but for a different reason: everything was as it were a matter of course, and it is immediately evident. Evritmisty after seeing the new city, meet new conditions ditions, have developed the well-known domestic growth, due to the fact that they had received from the outside world.Their movements are therefore free. And then comes a feeling of joy and lively talk only: ah, if they lost even fifty times, how would it then was perfect! All of these things should be understood. What I'm talking to you now, will assess each stage artistic figure. This feature stseniches cue figure and does not think that it is possible to act before he proig ral her fifty times!Only fifty-first playing time, he thinks he can really play this role, because only then it was his taken for granted. Here it must be constantly borne in mind, my dear friends. In addition, you want to represent, it is necessary first of all to feel so much love that you can not give up for anything from the role, and then find boring that conveys the artist can only external publications ka.Because it is in the art of special importance is the circumstance NESS, so that we focus on is definitely something artistic that we get away from it all fresh and new.I, for example, was once possible Property in the same area where I live, watch every night the same thing a summer theater staged fifty times in a row.I was smot ret it every night and let her work on me.And it turned out that I was bored only fifth presentation. When I watched it five tens first time, I was no longer bored.Although the presentation in the summer theater was very mediocre, but still under the supervision of imperfect
could learn so much, so very much, that from this procedure, which is considered by many to be a very strange, I acquired rel something important for the entire life.At the same time, it was a thing that I could not like it, it did not interest me. It was the "honor" Eudermana. I can not stand her, but I looked at it 50 times, and, moreover, in a mediocre performance, in order to unconsciously reach all parts survive the all-clear from the astral body, to withdraw from all of the appreciation of perception and reduced to pure experience. Needed - and I would like to the discussion Eurhythmy allocate to remain on it - definitely need to learn how to express rhythmically also complicated things."Our Father," people do not read 50 times, and who knows how many times? It it does not get boring. Just to be more or less indifferent, at first glance, the experiences of our organism ma, which leads you to our karma.But we will pay little attention. Here, my dear friends, we have reached the end of our cycle. You could con e how I was trying to build this cycle so that you can see that eurythmy stems from feelings of our hearts that eurythmy technique must be born in the love of eurythmy that everything must come from love. As far as myself, my dear friends, I love eurythmy - that I had recently expressed
in
"News
for
members
of
the
Anthroposophical
Society»
(«Mittelungsblatte»).As far as I would like to see more attention paid everywhere, need to be valued above all demands Prynne mayuschim participate in eurythmy from Mrs. Steiner and our bad dly performers, how all this is still not appreciated sufficiently,
and
yet
must
would
meet
the
proper
assessment
of
all
Anthroposophists - that I recently expressed in "Izvestia".And I hope that this course may contribute to the development of eurythmy, with conditions provided that all of us - whether we consider ourselves thoroughly familiar with eurythmy or are a novice, or just interested in it - that we will all feel promotional eurythmy, which resulted, from the fact that knowledge of the world, which is drawn from the
spirit.And if we do so, we feel actively or passively contributing Eurythmy, then again vitiyu Anthroposophy will be born through her that she had to get away from Eurythmy. When people see how the spirit is the beauty in human form, then this will strengthen the position that humanity must take due Anthroposophy in relation to the spirit. Along with all the individual knowledge that we acquire in anthroposophy, will, however, remain aware of the great whole of Anthroposophy and Let's give all this knowledge of individual particulars such form, which - if allowed so to speak - we inspire our anthropological sophical heart.This form, which we have to give them, if by working in certain areas, we want to be worthy of the goals that sets itself Anthroposophy. And let this be partly contribute to what I said in this course for eurythmy.
Contents M. Steiner
Preface to the first edition (1927) Lecture One
Eurythmy as visible speech Lecture Two
The nature of individual sounds Lecture third
Gestures experienced and decorated Lecture Four
Individual sounds and their relation to each other Lecture fifth
Mental attitude in the poetic work
Lecture Six
Mental attitude and characteristics of the individual states of the soul. Color as the content of mental attitude Lecture Seven
Plastic design of speech Lecture eighth
Word as a symbol and the word in its relationships Lecture ninth
Die gestaltete Rede - decorated it Lecture tenth
Forms obtained from human beings Lecture Eleven
Getting used to the gestures and forms the twelfth Lecture Arising due to the outpouring of the soul in the form and movement of healing effects and their impact on the whole person Lecture Thirteen
The mood of the soul, which can be found in a gesture of sound Lecture Fourteen
Articulation of words. Internal division of the stanzas Lecture Fifteen
The whole body should be the soul of the performance at zvritmicheskom
54
Rudolf Steiner-GA 279 Eurythmy as visible speech bdn-steiner.ru
