Michaelmas 1999 1
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titel 08.09.2002 16:17 Uhr Seite 4 Newsletter from the Section for the Arts of Eurythmy, Speech and Music Michaelmas 1999 1 EDITORIAL Dear Readers, A main part of this Michaelmas edition of the Newsletter is dedicated to the introductions and reports of research which were given at the Section Conference, Easter 1999. This was the first Section Conference of all, an attempt, a seed on the threshold to the new millenni- um. It is to be hoped that we find ways in our arts that serve the development of Rudolf Steiner's artistic impulse. In this issue, the contributions fill the theme of 'stage-forum' in another way. There follows, too, some impressions on, and critical voices to, the Conference. We have not given an overall report on the Conference, and hope that this will happen through word-of-mouth and through the Newsletters in the different countries. The main content is a sequence of articles on the sources of eurythmy: on the Mysteries of the Word and the Sun Secret; the relationship of Eurythmy and Cultus is also approached. Furthermore, there is a detailed article on the task of the Section at the turning of the mil- lennium, which hopefully will stimulate an intensive discussion. What do you see as neces- sary, and how can it be done fruitfully! What can we do that the crisis of our arts can become fruitful? How do we work on new ways of working in our arts? Who has positive experiences that he/she would like to report to us all? Please help by writing many different contributions, if possible in a short form. We are espe- cially happy when they are typed on disc, or even more, when they reach us by e-mail. Do to forget, as well, to make your financial contribution. The costs at present far exceed the budget. With warmest greetings, from the Editor Werner Barfod 2 TABLE OF CONTENTS Section Conference 1999 Articles 'The Inaudible Element in Music, Eurythmy Consciousness and Eurythmy and Speech' (Göran Krantz) . 52 Words of welcome Dr Virginia Sease . 4 The Karma of Cratylus and the Mysteries Introduction to the Conference Theme of the Word (Ate Koopmans) . 57 Don Vollen . 6 The Sun-Secret of Eurythmy Rüdiger Fischer-Dorp . 9 (Ate Koopmans) . 59 Deepening the Arts Meditativeley Eurythmy-Art and Ritual? Introduction (Werner Barfod) . 12 (Kees van der Zwet) . 61 Some thoughts on theatre arts. Introduction Fruits from the work in Jerusalem with to the Theme: “The Perception of the Soul Calendar (Jan Ranck) . 68 Today’s Questions in Relation to Art” What does it mean: Section for the arts (Christopher Marcus) . 18 of Eurythmy, Speech and Music of The Perception of Today’s Questions in the School of Spiritual Science? Relation to the Arts. Introduction (Wilfried Hammacher) . 68 (Elmar Lampson) . 20 The Relationship between the Arts of Reports Speech, Music and Eurythmy Introduction. (Margrethe Solstad) . 24 For the Newsletter of the Eurythmy The Relationsship between the Arts of Association of North America . 76 Speech, Music and Eurythmy Mini-meeting with Kurtag (Chr. Ginat) . 76 Introduction (Branko Ljubic) . 27 Report on the South African Annual The Future of Speech, Music, and Eurythmy Conference (Liz Smith) . 77 Eurythmy. Introduction A Faust Project of the Waldorf School, (Melaine MacDonald Lampson) . 33 Mannheim (Johannes Bleckmann) . 78 The Future of Speech, Music and Eurythmy Search for new Sound-Qualities in making Introduction. (Paul Klarskov) . 36 String Instruments (Arthur Bay) . 80 Impressions from the Section Conference Finding a way of introducing eurythmy and the Eurythmy Conference to people in the West of North America Practising into the Next Century (Helga Mekeel-Mattke) . 81 (Imme Atwood-Reipert) . 42 Report on the Free Eurythmy-Group, Music to the Words for the Goetheanum Stuttgart (Elisabeth Brinkmann) . 81 Windows. (Christian Ginat) . 43 ‘…to the Earth’ - Eurythmy Stage Group, Hamburg (Ria Malmus) . 81 Eurythmy Conference 1999 ‘Answer from the Periphery’ (St. Abels) . 86 Stage Training (Masja Hoogendoorn) . 88 Some Thoughts and Questions on the ‘No Initiative without fire’ (J. Starke) . 89 Eurythmy Conference Report on the Puppeteers Conference (Diotima Engelbrecht) . 45 at the Goetheanum (U. Ohlendorf) . 91 The Anthroposophical-Eurythmical Fragmentary Thoughts on Eurythmy Foundations of the Sequence of Breath- as Art (Juliane Neumann) . 93 Sounds (Thomas Göbel) . 46 Eurythmy in Stourbridge (Maren Stott) . 96 TABLE OF CONTENTS 3 Festival of Artistic Speech Work-days and further training (Johannes Bergmann) . 96 at the Training Centre for Eurythmy, A Special Moment for Eurythmy Vienna . 114 (Nicole Oldenburg) . 101 Biographical Reports Obituaries One of my decisive memories of Lea van Anne-Maidlin Vogel der Pals (G. Wilhelmer-Rating) . 116 (MArie-Reine Adams) . 103 Edmund Pracht’s 100th Birthday (Shaina Stoehr) . 103 (Christof-Andreas Lindenberg) . 117 Announcements Book Reviews Tritonus Ensemble . 105 A Karmic Biography – Marie Steiner To all eurythmy-trainings . 105 Wilfried Hammacher . 119 Orientation weeks . .106 Eurythmy as art of the threshold Eurythmy School, Nuremberg . 106 Birrethe Arden Hansen . 121 Training in educational eurythmy . 107 From the work of the EVOE-Theatre . 107 Miscellaneous Moving Word Theatre . 108 Courses with Annemarie Ehrlich . 108 The Spring Tour 99 ‘…an die Erde’ Formed Speech between Movement (Friedhelm Klose) . 122 and Thinking . 108 Eurythmy in the Ukraine News from Hogeschool Helicon/ (Charlotte de Roguin) . 123 Eurythmy Training, The Hague . 109 Special Costume Indications for Eurythmy by Rudolf Steiner . 124 Further Training Veil Silk for Music-Eurythmy . 124 Kaesbach TanzSchuh . 124 Education Seminar . 110 Eurythmy in Teaching . 110 Publications Further training and courses at Hogeschool Helicon . 111 I A O and the Eurythmy Meditations Further Training for Trained Eurythmists Werner Barfod . 125 and Fourth-Year Students of the Eurythmy music . 125 Trainings . 112 Complete compositions for which Academy for the Art of Eurythmy, R. Steiner drew eurythmy-forms . 125 Munich . 112 Die Wiedergeburt der Poetik aus Further Training for Speakers. Free dem Geiste der Eurythmie Study Centre Unterlengenhardt . 112 Hedwig Greiner-Vogel . 125 Further Training in Eurythmy, 2000 Led by Annemarie Bäschlin . 113 Readers’ Letters Further training for speakers 2000 Led by Dorothea Mendel . 113 ‘On the destiny of being a eurythmist Further training for speech artists (Elisabeth Göbel) . 126 and actors . 113 Reader’s Letter (Alan Stott) . 127 Union pour L’Eurythmie . 114 Fifth year post-graduate course . 114 4 SECTION CONFERENCE 1999 'The Inaudible Element in accountability towards art is rooted in Music, Eurythmy and Speech' something which Steiner mentions in rela- Words of welcome Dr Virginia Sease tion to education, that anthroposophy is not a teaching, but it is, in the practical Dear Artists, sense, the method. This might perhaps On behalf of the Executive, of the College come out in the discussions. Well, this is of Class Readers, of the co-workers at the one mood which we looked at in different Goetheanum, and the preparation group ways in the preparation group. for this Conference, I would like to greet you And now to those three aspects. One all most warmly. You are actually the people aspect is linked to the question: How is it for who, as Class members and as artists in the the spiritual pupil, when he/ she arrives at arts of eurythmy, speech and drama, and the threshold to the spiritual world, and music, have decided to become co-workers even repeatedly steps over this threshold? as Class members and as representatives of How for example through the content of the your arts. This is an important decision, not Class lessons? And then, quite specifically: one that can be taken for granted. How is it regarding the situation of the We see this Conference as a kind of call threshold today for the artist in the per- for meetings and conversations, for human forming arts? Is the artist through the expe- and artistic meetings. For more than two riences on the threshold (in which everyone years, the preparation group has worked participates in carrying out these arts) priv- with me and with the people here at the ileged or disadvantaged? One could bring Goetheanum in order to plan this this question together with the first aspect Conference. We regard it, now at the end of of this question. And how does the artist the century, as making it possible a little fulfil the prophecy which we hear at the end particularly for the artists to speak to each of the seventh Class lesson? other both deeply and openly. With the second aspect, we see how the In this Conference and in preparing for it, human being today since the first third of three aspects came into consideration, and this century comes into a special situation I think you will recognize them here and when he leaves the physically audible and there during its course. Behind all the con- visible world. He comes into a dimension siderations and conversations, there was where today the Christ is to be found in always one special mood. Its quality pene- etheric form. The Christ-being will be trates everything that is present, too, in found today by the seeking human being, these three main aspects. The question is: either during his life, or, if he is seeking, How, at the end of the century, is the situa- then, after death. But if during this incarna- tion of a kind of accountability towards tion he is not seeking, and has nothing in those artistic impulses which originate cen- his life that related to this search, then he trally in anthroposophy? Everyone comes will not be able after death to experience with this question of accountability, so to Christ in the etheric realm. He will have to speak, from a quite individual direction.