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Newsletter from the Section for the Arts of Eurythmy, Speech and Music

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Newsletter from the Section for the Arts of Eurythmy, Speech and Music Newsletter from the Section for the Arts of Eurythmy, Speech and Music Easter 2004 1 TABLE OF CONTENTS Stage Forum Marie-Steiner-Schule (Heinz Frankfurt) . 42 The Genius of Rudolf Steiner’s Speech Exercises The Summer Festival and Masterclasses in The Hague, (Patricia Smith) . 44 July 2003 (Ernst Reepmaker) . 2 “To further oral and aesthetic communication” “You have to go too far, to know how far you can go.” (Christian Moos) . 44 Video: Between Times – a record of Eurythmy today Short report on the Conference for Therapeutic (Leonore Welzin) . 3 Speech Practice (Ute Basfeld) . 45 Schattenbruder (Andrea Heidekorn) . 4 The inspiring conversation Premiere in the Goetheanum: “Mimages— (Krützkamp/Langhans/Ptok) . 46 a Symphony in Movement” (Leonore Welzin) . 5 Puppet Players Conference, Jan. 2003 at the “Mimages” – how much experimental art is necessary? Goetheanum (J. Clark / I. Willwerth) . 46 (Werner Barfod) . 5 Curtain up! The “new” Puppet Theatre Felicia Melaine McDonald interviewed by Leonore Welzin . 6 at the Goetheanum . 48 Is it possible by naming to distinguish the various expressions of movement today? (Silvia Hammacher) . 8 Orbituaries Articles Gotthard Köhler (Christian Ginat) . 48 Isabelle Dekker (Peter van Breda) . 49 Eurythmy and the Dance (Thomas Göbel) . 9 Renate Munk (Michael Leber) . 50 The hygienic side of eurythmy (Rosemaria Bock) . 11 Christine Pfeiffer (Michael Leber) . 51 Eurythmy the other way round (Maren Stott) . 13 Eurythmy as a post-christian art and eurythmy therapy within anthroposophical “remedies” Announcements (Christine Junghans) . 14 Art, Culture and Health (Göran Krantz) . 15 - Eurythmy Conference Out of the physical into the etheric (eurythmy – speech) “Wahrhaft – Wesenhaft – Wirksam” . 52 (Richard Rutishauser) . 17 - Eurythmie . 52 The nature and becoming of a drama school - Eurythmy Therapy . 56 (Heinz Frankfurt) . 18 - Speech / Acting . 56 Towards understanding Speech and Drama, lectures 1–5, from “Om” to the “Aale”-exercise. Lecture by Dietrich von Bonin – Part II . 20 Publications The formation of sounds – Part 1 (Siegfried Meier) . 22 The Crossing – Part II (Hiroko Kagawa) . 25 Max Picard “Wort und Wortgeräusch” 24 Préludes pour le piano forte dédiés à son ami (Marie Steiner Verlag) . 58 J.C. Keßler par F. Chopin (Robert Kolben . 29 Plato’s “ION” (Marie Steiner Verlag) . 58 “The area of the fifth” In answer to Robert Kolben Annemarie Dubach “Eurythmie: Eléments de base” . 58 (Alan Stott) . 34 “Kompositionen zu Toneurythmieformen Rudolf Steiners” (Parzifal Verlag) . 58 Reports Biographical report Some of the work of the Performing Arts Section Craft and Profession – Experiences from my 2003/2004 (Werner Barfod) . 37 development in speech (Richard Rutishauser) . 58 – A picture of the situation of the international euryth- mic-educational Mandate Group including the Sections for Education and the Performing Arts (eurythmy) . 37 Miscellaneous – A picture of the situation of the international eurythmy-therapy mandate group integrating A disclaimer (Werner Barfod) . 60 the Medical Section and Performing Arts Section . 38 A difference between christological and energetic – Further Training of the Tutors of the Eurythmy-Trainings 38 access to eurythmy (Sergei Prokofieff) . 60 “No Map but Several Ways” (Keim/Kokocinski/Stange/ de Vries/Wellmann) . 38 Training and further training in the International Academy Section information . 61 of Living Movement, Vienna (Brigitte Reepmaker) . 40 Section Agenda . 62 Symphony/Eurythmy 2004, Shared Project of the Goetheanum Stage and Else Klink Ensemble Stuttgart . 40 Donkey Skins (Aonghus Gordon) . 41 Corrections to RB 39e Eurythmy in South Brazil (Margrethe Skou Larsen) . 41 P. 20, 1. 11: for (Jn 21:22) read (Jn 1:51) 2 Dear Readers Work on the continuation of the actors group at the Goetheanum proceeds. The stage-group is still part of the At the beginning of the year, tutors from the eurythmy train- budget for 2004 for which a clear intention is expressed. The ings world-wide met for their regular annual working-days future is being discussed in conversation with each member and for the Conference of the eurythmy trainings. Intensive of the core-group. A work-and-playing itinerary is being work in groups took place on concrete questions of the train- arranged till 2007. With a business-like courage this can only ing. The difficult situation everywhere speaks a common mes- be pursued step by step. sage, an honest introspection with the question of the spiri- The final “Faust”-scenes are being prepared in the weeks tual and cultural task caused everyone to come together and before March, to be followed by the big run-throughs before step by step to seek solutions. Burning questions were worked the premiere in the beginning of April 2004. The Eurythmy at, to perceive what is growing in the students, to stimulate the Ensemble is fully integrated and is working alongside at imagination in practicing creating, to becoming awake in Beethoven’s Seventh Symphony and another by what is done. In the Conference we looked at the accounts, Schostakovitch, the 3rd String Quartet for chamber orches- where we stand with the step by step re-fashioning process of tra, for summer 2004 and a tour in the autumn. the trainings, and what the aims are for the coming years. The Before us lies the Eurythmy Easter Conference, 13th to working together and exchange of working experiences and to 16th April, 2004, in Stuttgart, “Truthful – Intrinsic – Effective”, build-up new networks in one’s vicinity, to work on the qual- in which we undertake the presentation in eurythmy of the ity in all areas of life in the training is now important. counter-forces and the elemental beings in the most varying The training committee of the Waldorf Schools is attempt- forms. Lectures by Armin Husemann, workshops, eurythmy ing specific professional help for the eurythmy trainings. Of lessons and performances form the whole endeavour and course the quality-demands of the eurythmy education in will surely stimulate much in perceptive life and activity. our time have to be satisfied. Here too we can only achieve At the end of the Newsletter, you will find the description something when we work openly together an pursue a com- of the Section and the Section agenda, they are for the infor- mon aim. A mood of new beginnings is perceptible. mation of you and the friends in your vicinity. The annual The puppetry conference has just taken place. Many stim- report of the General Anthroposophical Society will from ulating artistic contributions on the theme “On the thresh- now on be written more for the general public, which is why old between here and there” were reflected in a lively and this arrangement is chosen. open manner in the conversations together. An encouraging life of discussion has developed. In a first meeting with speech artists, we discussed ques- Yours, tions of the situation, of the needs and the future tasks. A fur- ther meeting will follow in May 2004 in order to establish a committed working group. Dornach, January 2004 STAGE FORUM The Summer Festival and Masterclasses for, and objectively and honestly encouraged. Refreshingly in The Hague, July 2003 honest and not infrequently quite directly! This means that an intensive and fruitful working mood was present in the Ernst Reepmaker,AT-Wien Theater Zwembad de Regentes! Many things got a stage fur- ther and progressed… Gradually it becomes clear that—slowly but surely—we are A word on the programme. Partly separated by space, but emerging out of the narrow pass! But stop!… Do I really still in time consecutively, the Summer Festival with the euryth- have to speak of “we”? Should I again refer to something my courses for those interested (Hogeschool Helicon) and general (to eurythmy)? the masterclasses (Theater de Regentes) took place. In the Just this—for which I am happy—was not the case in The evenings all participants—around 100—with additional vis- Hague. Those present saw something removed from the gen- itors attended the performances in the Theatre. At first a eral towards the specific. With this I refer to the work and combined programme with fragments of productions of the productions of individual artists and groups, who look at Zilt-Ensemble (Den Haag), Birgit Hering (Berlin) and Mon- eurythmy as the centre of their activity. The performances of densemble (Hamburg), further inspiring premieres from the these colleagues—some already ripe for performing, other productions by Marianne and Hans Fors (Järna) and still at a pre-performance stage—were looked at and dis- Melaine MacDonald (Hamburg), and presentations from the cussed, worked at, creatively criticized and were worked at work of young eurythmists / young talents from Hamburg, ever again with a productive respect as an interesting poten- Järna and Kassel. At the end there was again a combined pro- tial with room for growth. Less a judgment, more as a dia- gramme with transformed parts from the masterclasses, as logue on the intentions and aims—on one’s own and others’ well as a fragment from the new programme by Gia van den opinions—as well as on “this eurythmy here and now”— Akker (Den Haag) and a nocturne (Boilerhause). The How effective is it, what comes across? All this was looked evenings showed a bouquet of contemporary eurythmy per- STAGE FORUM 3 formances which animated many conversations and dis- Hague. The real work took place in the masterclases! Here cussions ranging between rejection and enthusiasm. People the work of the colleagues was questioned, discussed and took sides faced with this diversity! In The Hague people did tested with great intensity. And it was always exciting to see not talk behind the artists’ backs but straight to them: What how with concrete suggestions “the masters” demanded moves you? Something objectively freeing came about; a improvements from the performers. The themes mentioned creative, playful energy was freed. One was ready for more.
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